Robert Delaunay’s orphism could be considered one of the possible roots of the art vision of Portuguese visual artist Alberto D’Assumpcao. The same focus on the primacy of colour, the preferrance of pure and luminous juxtaposed complementary colours, the free organisation of the visual elements using motifs like ”fragmented rainbows”, much more connected to the inner life and its musical structure than to the exterior world.
An outstanding member of the Archetypal Expressionism Group, Alberto seems to look for the essential reality of the life of the universe. His vortex of forms, the multifaceted oscillation between planes and volumes (similar to El Lissitzky approaches) and the strange impression regarding the reversibility of such forms, pure archetypes of a celestial visual hierarchy, create a sweet and secrete coherence appealing directly to our sensibility like the music of spheres. The only allusions to the visible worlds in his expressive and impressive art are the beautiful gothic and romanic windows which remind us the passage between inner and outer, but always crossed by the intimate interchange of the cosmic fine and bright structures. In his iconography of ideal objects we may find very frequent the green spheres, maybe archetypes of the vivid and moral perfection.
I know Alberto, my friend, is in love with the moral perfection. That’s why he is the last Don Quijote of our time, including here his obsession for the pure art. Maybe a true model for the art of the future.