A very personal characteristic of Albert's work is to show the biography of each work on its surfaces. On these you can see the whole process that made them possible from the beginning. And this is important because there is no masking or disguising, no hidden elements. The artwork shows itself in an open way, without shame, with all traces of the creative process and the feelings of the artist, his decisions and thoughtful moments. The result is a three-dimensional reality, his way of understanding the aesthetics of the material that defines his work.
Carlos Albert's abstract language allows him to convey emotions. It is precisely the sincerity with which he handles the material, and the respect and admiration for tradition, for what others have created before him, that allows wrought iron to advance in its history. The artist does not try to imitate anyone, nor does he try to get lost in paths already taken. It is a great joy that Carlos Albert, together with other great artists, is already represented in important collections in this country and that collectors are following his career closely and are always acquiring his works. These very personal results are the result of his creative spirit and inquisitive nature, which have led him to constantly examine the qualities of the materials and make the most of them. The form is of course the main element, but the surfaces of these forms are also the subject of a constant search for new results, for different colours, patina and surfaces, which his works always display with new nuances and new abilities to touch the viewer.
The current exhibition Space and Colour, in which Albert dares to integrate bright colours into his forms, is in harmony with these new results. Colour now transforms the equation, as the works take on a new character, adding to the previous elements. Whether applied monochromatically, or by combining two colours to emphasise the edges of the piece, or even by creating more painterly surfaces, Albert shows that the path of his sculpture has the capacity to transform without losing any of the elements that have characterised him until now.
I would also like to highlight the importance of Carlos Albert's large scale works for public spaces and outdoor areas, in which Corten-steel plays a leading role. With a completely different treatment than the solid iron that is struck in the forge, steel is allowed to be used in his works according to a carefully worked out plan. Here the artist must act with even greater deliberation, becoming the architect of form and transferring the designs and sketches he has made in smaller dimensions to the material, also using other methods more suited to its temperament. The sketches are made on paper, through collages or sculptures in very small formats, where he can study the problems of realization that are faced with steel and large dimensions. In the works with Corten-steel the thoroughness is multiplied and the slowness of the process becomes an essential part of the result. The character of the final work is different, showing a different facet of the artist, a different vision of the artistic concept, but closely related to the works in wrought iron.
Another very special material he has worked with is stainless steel, both as sheet metal and in its solid form. In this case the work is particularly difficult and laborious, as it is usually completely polished and has a spectacular finish. Wood is also a material he likes to work with. It interests him as a contrast of form and as a counterpoint to colour in his works. Carlos Albert is very careful in the choice of wood, which is supposed to add an additional compositional element to the complex of his final sculpture. He does not use any kind of carving. In contrast to iron, wood is understood as a geometric block that assigns a different role to the materials than the one expected. The artist succeeds in creating a space for imagination and meditation through the silence of emptiness in contrast to the power of form.
I do not want to forget to mention his works on paper, which I cannot call two-dimensional, because the sense of the three dimensions is present in all of them. Through collage, the artist has found a way to draw, to shape his ideas, which might be part of a future sculpture. But they are the drawings of a sculptor, of someone who moves in a tangible world, not in an imaginary one. Using the different tones that have grown in his career, Albert constructs these collages that escape into three-dimensionality and deliver his spatial visions. The papers represent a very important part of his production, with which the artist completes his work.
Carlos Albert's sculptures are spaces of encounter with oneself, they have enough ethical elements to transcend us and help us to find the meaning of things. In my opinion, this is the function of the artist.