From Power to Nature
The Alhambra has always been more than a monument to me — it is a living symbol of human ambition, memory, and transformation.
In this triptych I wanted to explore how its essence changes through time: from fortress to culture, from culture to nature.
Each image is not a document of place, but a state of being — a meditation on power, emotion, and the inevitable return of life to its origin.
Through the language of Allegorical Abstractionism, I transform architecture into light and movement, letting the human story dissolve into the landscape that once sustained it.
La Alhambra I — The Human Citadel
The first act speaks of construction and control.
Here the Alhambra rises as a defensive wall, a human attempt to contain light and protect itself from chaos.
The geometry of gold and stone becomes a metaphor for the will to dominate — the moment when civilization believes it can resist time.
La Alhambra II — Two Lovers Watching
In the second act, the fortress begins to breathe again. Two figures look at the monument not as soldiers or rulers, but as witnesses of beauty.
The wall ceases to defend; it remembers. The Alhambra becomes culture — a reflection of emotion, of love, of shared memory between humanity and its creation.
La Alhambra III — When Nature Takes Back the Throne
Here the cycle closes. The forest advances and the architecture dissolves into green light. What once was human triumph is now part of the living earth. Nature does not destroy — she absorbs, she remembers, she reclaims her throne with quiet grace.
Closing
The Alhambra (Triptych) is not about history, but about transformation. It speaks of how everything we build eventually returns to light, to silence, to nature. In this dialogue between stone and leaf, between memory and renewal, I find the essence of Allegorical Abstractionism: the eternal movement between creation and surrender.
