The green room

This piece captures the harmonious and mindful integration of human presence within Australia's pristine natural environment. Australia, a land of extraordinary natural and environmental wealth, serves as the backdrop for this exploration.
Surfing, a quintessential element of Australian culture, is employed here as a visual and thematic thread to represent the deep connection between the Australian people and their surrounding natural world, particularly the ocean.
At the heart of the composition lies one of the ocean's most thrilling phenomena: the wave breaking into a hollow, tubular form. This moment, when a surfer enters the 'green room,' is a metaphor that drives the essence of the work, pushing the concept to its limits.
The architectural notion of 'space' is seamlessly intertwined with this metaphor, resulting in a unified image. Within the composition, figurative elements emerge: the walls, the floor, and the ceiling. The wallpaper on the left wall hints at maritime motifs, while the curtains transform into the frothy foam of a breaking wave. The front wall hosts the focal point where human and nature coalesce. The surfer, momentarily blind, is guided solely by the sea’s eye, basking in a warm shaft of sunlight that pierces through the scene, emphasizing the serene unity between the natural world and human experience.

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Alejandro Rodríguez Plaza, known by his nickname 'Plaza', is a professional visual artist born in Madrid (Spain) in 1992 and currently an Australian citizen living between Sydney, Madrid and Andalucia.

He is an architect with an absolute passion for painting and is fascinated by everything that can be framed in the field of 'creation'. His life has always revolved around the plastic arts in all their variations, starting with the urban art of 'graffiti' in the streets of his native Madrid from a very young age.
He has developed an artistic concept that mixes classical and contemporary pictorial elements with a unique sensitivity in the use of pure forms and colours, creating iconic and suggestive images. They are almost always linked to themes in which he tries to offer a new vision of the elements of nature, among which he repeatedly includes physical figures.
“Architecture has given me the opportunity to order all these visions, to put them into context, and somehow to tame the wild and disorderly artist, which is sometimes very necessary in creative processes. Sometimes I thought I was wrong to choose architecture over fine art, but in the end I understood that it was important to cultivate my creativity and ability to abstract. After all, architects are constantly working with flat, abstract visions that are representations of real, three-dimensional elements. This is the principle on which many of my creations are based. Figuration and abstraction, volumes and two-dimensional elements, with the language of colour as the common thread.”
“My art is strongly influenced by Cubism, Expressionism, Surrealism, Neo-Figurative Painting, Pop Art... although I see myself as a chameleon-like artist who is constantly learning. I find myself at this point of search, although I believe I will always be in this eternal search that comes with a commitment to creation.”
“If I had to place myself within a pictorial trend, I couldn't make a choice, but I could tell you that many of my creations are influenced by Cubism, Neo-Figuration, Impressionism, Surrealism. As artistic references I could mention Vasiliy Ryabchenjo, Franz Ackermann, Jean-Michel Basquiat, George Condo, Keith Haring, Anthony Lister, Francis Bacon, Saura, Juan Gris, Turner in his motion captures and, of course, Picasso.”