If you see it from afar, reality itself doesn´t make much sense anymore. Concepts are overpopulating its dimensions, and unless you approach it with the strength of so many wandering ideas that explain the “explicity” of it, it doesn´t make sense. And even though reality hasn´t changed at all, the late conceptions within contemporary aesthetics and philosophies seem brand new. To actually “know” in our times, requires understanding. We don´t represent anymore. We interact. Alejandro Falconi is hardly a common artist. With a straight disposition to conceptuality and a firm conviction towards shape, name and figure, he has developed an outstanding mark when it comes to art: I like to call it “spiritual transformation”. Alejandro likes to transform the “spirit” of things; underlining their natural structure, he plays with reality. He frees things from reality. From their boring destiny. His work is about knowledge; but a daily kind of knowledge. Falconi has developed an accurate sense towards “things” and their strange genealogy. What are things? Why are they like that? Is every single thing a “thing”? Without committing to philosophical matters or mental standards, Falconi exposes the truth of truth through very intelligent rhetorical strategies; irony, metaphors and hyperbolical treatments revolve around his work subtly and working as invisible guides to a revealing point where his work comes to sense. By doing this, he always ends up revealing something new. He treats truth as wisdom, not as knowledge; and he helps us redefine things through this principle. There is somehow a profound “lecture” behind every single one of his works. The conceptual treatment of his creative approach, ends up giving us a new lesson on observation and reality. His work is always redefining itself. Alejandro uses reality as a secret laboratory where ideas and concepts are constantly analyzed and processed. He doesn´t “follow” art. Somehow, his Cuban artistic education and his general background give him a solid pace when it comes to create. He plays. He mingles. He materializes. And then he leaves. That is his formula, and it always works. One can always find his work easy to understand or even accessible to comprehension when you see it for the first time. But it is not like that at all. There is a sub textual logic within his ideas and concepts, the embraces only the purest truth of things; it doesn’t commute with symbols or archetypes, it just stands there naked and silent behind every single thing he works on. Like time, or any of those strange concepts the world has invented around it.