It would be simplistic to classify Andres Barrioquinto’s art in a single style. Undergoing an evident evolution over time, his research and approach result in a unique and distinctive language, representing his mature phase.

 

Barrioquinto's works moved from an initial stage, characterized by a more instinctive approach,  expressed through what he was used to: strong engravings, and bolder signs. Vitality and energy were spreading from his canvas,  a measure of turbulence and passion typical of an artist’s youth phase.

 

Then slowly and gradually his art naturally moved towards a new dimension, a cosmos of almost immaterial images, where the constant tread is the vanishing of the physicality and carnality. He embraced his mature aesthetic research, a distinctive language so unique to be now his artistic signature. Barrioquinto's subjects are almost dematerialized yet hyper-realistic, in an apparent contradiction that he wisely developed to reach excellence. In fact, his subjects, so realistically painted, become pure immaterial concepts, and ideas. Abstraction is not simply the opposite of naturalistic or representational art, however. It can also be an attempt to explain, depict, allegorize, or imagine the intangible with tangible ideas.

 

On this line, Barrioquinto literally crafted his own artistic alphabet which characterizes his art today. Sublimating beauty, he realizes the noblest still harder process a contemporary artist could operate; he is a gesture of independence and maturity, it implies the consequential abandonment of the reassuring elements of "carnal" and "real", faded away by the preponderance of the unconscious expressed in forms. Only confident artists can highlight their unconsciousness, choosing to base their art on a fragile thin line better than the stability and obviousness of reality. Thus his portraits are enriched with details taken from a dream world: mushrooms, birds, butterflies, and flowers, all archetypal symbols that do not fly but float, in a timeless suspension, like satellites that remain magnetically attracted to the subject's vibration. All like in a fairytale’s vision or in a dream. While Barrioquinto takes cues from the great renaissance and modernist periods, at the same time Japanese aesthetics is an essential reference for this mature phase. Sublimating forms and freezing movements, he stigmatizes a given moment in eternity.

 

No longer real, the image becomes a dream, a memory, an unconscious idea. The body loses physicality, its beauty turns to the ideal. His canvas refers to the art of other eras and other regions, revealing wisdom, knowledge, and culture. Barrioquinto’s world is filtered through the lenses of a particularly refined sensitivity.

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