I find it curious that whenever I have tried to imagine Arturo Álvarez in his workshop, the first thing that comes to my mind is to think about one of my devotions, the sculptor Giacometti. Not because there are mimetic coincidences, which we could look for them, but because of the way the Swiss, by moving his fingers, removes some limits to build others, a key that also defines the exceptional work that Arturo Álvarez has been developing between craftmanship and design, between art and life.
Arturo Álvarez combines artisanal and emotional, aesthetics and functionality, sustainability and progress. He does it through lamps that are sculptures and sculptures that are their own source of illumination. In his hands light is a kind of utopia, a light that, on the other hand, has always built paintings, has expressed ideas and exalted feelings. Many architects remind us that light defines architecture, therefore also many modern artists have also shown interested in it as a fine art. Few artists have managed to create a special atmosphere through it as Arturo Alvarez has. Little does it matter that we consider it of design, craftsmanship or art; what really matters is the tension that emanates from each of his pieces, mostly kind, sinuous, subtle forms, built from the close surroundings. Giacometti confessed to having been fascinated by an image of a friend who, as he left the door of his studio, was fading … The figure thus became a landscape in the same way that Arturo Álvarez thinned his life, letting the light escape slowly.