Identity reaches levels of obsession and commitment in Rafael Pérez Alonso’s oeuvre. He always comes to it as a lover. At every step he discovers new signs in it. His vocabulary is definitely made of quotations and he founds his spurious empire in the strategy of simulacrum. In painting and sculpture we will find him resolute, immersed in a kind of pop history about the assumed condition of insularity. Therefore, he strives to gather unexpected characters, imprecise caricatures, springs that are always in the surface, in which the paradox is totally subsumed: city sharks, haughty walkers, creolized symbols, incomplete cities, resistance, longing, expectations, and flaccidity. All this is part of a tough and committed analysis of everyday life and its highly dramatic contents.
A special critical emphasis, implemented in the irony, holds his vision of the world. Along these paths he registers the most recent history of humanity in a frayed network of absolute fragments. However, his attempt is not lewd. Having been inserted in a post-modern logic that assures the end of the rituals of the world in a bunch of texts, Pérez Alonso converses about immediateness without conspiratorial concerns, representing its weightless nature and its compelling sign.