It is not pictorial technique in itself that concerns Alain Urrutia, but rather investigating through image. His figurative compositions often make use of large formats and limited chromatic spectra (grays, blacks and whites). With their references to the daily and scenes taken from Urrutia’s own experience or surrounding reality (newspapers, television, etc.), his images suggest a de-codified, and wholly non-nostalgic, collective memory that look like extracts from feature films. They constitute a metaphor for representation itself. Intersecting stories that form a group of fragmented scenes both intrinsically linked and independent. In the end, his major pictorial installations are understood as an uninterrupted set of images.
The scenes he depicts have been blurred and veiled with sweeping brushstrokes, as if the artist were in fact referring to memories erased with the passage of time. The evocative beauty of these canvases is due to their very fragmentedness, suggestive of the pictorial conception of the Belgium artist Luc Tuymans: close-ups, isolated frames, discontinuous scenes, that is, references to the world of film, television and photography.
( Extract from 'Before Anything' by Tania Pardo)