Rag story

Oscar Alzate's childhood was not easy, his father flees with his wife and children from the cruel violence of the fifties, settling in Palmira, Valle, where they must start again. Oscar was born there, among the common vicissitudes of a family of that time; At the age of 8 his mother Inés died, leaving a very big void in him and in the whole family; In adolescence, his taste for art and his empathy with the hippie movement began, which produced a strong confrontation with his father who drastically opposed his intention to be an artist, for which at 19 he settled in Bogotá, where he enrolls in Fine Arts at the National University. From there, Alzate's life takes place in the center of Bogotá, where he walks through cold and lonely streets that lead him to his first works, portraying prostitutes in the streets and lonely facades; until in 1974 he began a journey as a photographer through the lower Magdalena.

On this trip he meets a common object in the markets and that today, only the memory captured by Alzate's paintings remains, the rag dolls.
In these dolls Alzate portrays the violence that was experienced in many of these towns and that was reflected in the sad and melancholic looks of the dolls, who transmitted the feelings of their true owners, who were the provincial seamstresses, reflecting their experiences and pains in these popular toys.

Maternidad en trapo
Óleo sobre lienzo 1.979 - Exhibition at Banco de la República - BLAA
Alba con trapos menores
Oil on canvas 1.978 Exhibition at Banco de la República - BLAA
Alba con trapos cubrientes
Oil on canvas 1.978 Exhibition at Banco de la República - BLAA -Colección Avianca
Rosa Lucía
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Amarilla con yo-yo rojo
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Sin título
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Sin título
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Ensayo sobre mito y realidad
Oil on canvas 1.978 Exhibition at Banco de la República - BLAA
Colección Avianca
Helena in memoriam
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Bodegón para aquelarre
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Sin título
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Para Boris
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
La tía brava
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Sin título
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Sin título
Oil on canvas 1.978 Exhibition at de la República - BLAA
Sin título
Oil on canvas 1.979 Exhibition at Banco de la República - BLAA
Painting donated to Banco de la República.
Equilibrio
Oil on canvas - 1.00 x 1.40 1.984
No Documentation
Muñeca con mucama
Oil on canvas - 1.00 x 1.50 1.981
Muñeca con pamela
Oil on canvas - 1.00 x 1.50 1.989
La Sirena
Oil on canvas - 1.60 x 1.00 1.989
No Documentation
No title
Oil on canvas - 1.14x 1.60 1.989
Without Documentation
Without Documentation
Without Documentation
Exposición Galería San Diego
Without Documentation
Without Documentation
Muñeca con muñeca
Oil on canvas 1.00 x 1.40 1.979
Without Documentation
Without Documentation
Without Documentation
Without Documentation
Apart from brochure BLAA 1.979

"The images of rag dolls that appear in his paintings make us wonder if such a minor issue justifies the painter getting to work. And the truth is that it transcends the apparent limitations of the matter and moves to a level of discussion interesting because the painted ones are much more dolls than the real ones and much more characters than those others, those of real life, to which they refer, undoubtedly, in an effort to make parables, similes and metaphors ...

Oscar Alzate's painting process indicates a constancy that brings him ever closer to excellence in storytelling. Taking care of him progressively refers to the ability to make us believe in the truth of the rags and the surfaces with which these dolls are made. The need to obtain absolute verisimilitude prompts him to take more and more care of the trade. Not prompted by the will to lick surfaces. On the contrary, he wants us to realize the grotesque farce around which the existence of so many of us revolves. "
Galaor Carbonell