While Alberto Guzmàn’s sculpted work in metal and marble is well known, his painted work remains to be discovered. These are not preparatory drawings that usually allow the sculptor to elaborate a future work. It is an autonomous work, created for itself. Guzmàn has drawn and painted throughout his life and the choice of ink can be easily understood. Whereas the work of sculpture in direct carving or by welding is elaborated over a long period of time; Guzmàn could express all his spontaneity through ink with quick gestures.

We find again the imaginary, the shapes and the geometrical vocabulary of the sculptor: the disc, the whole or decomposed sphere, fragmentary, partially occulted or repeated. But also striations, hatching, cracks and accumulations.

Although ink is his preferred medium, Guzmàn also used colour sparingly to enhance its washes. More surprising was the use of coffee, which was spread on large areas to form the background.

Guzmàn was very curious and knowledgeable about non-European cultures, he had a particular interest in Asian ink painting. He prepared his ink on Chinese ink stones and used engraved seals to apply his monogram with cinnabar. At the end of the 1980s, Alberto was invited to South Korea to carry out monumental public commissions (two works for the Moran Open Air Museum in Seoul and one for the Olympic Park in Seoul). He will keep a link and an attachment to this culture.

Two of his drawings are kept in the Louvre, the sculpted work is present at the Peggy Guggenheim Foundation in Venice, the Musée d’Art Moderne de la Ville de Paris, the National Gallery in Oslo, the Lowe Museum in Miami and in many museums in Latin America. Public works have also been created in France, Korea, Norway, Peru, the United States…