Alejandro Goldberg — Painting “from heart to heart” at the Grand Palais

Born in Mexico City in 1967 and now residing in Jerusalem, Alejandro Goldberg will present his work at the next edition of Art Capital, at the Grand Palais in Paris, on stand D12 of the Galerie L'Esprit d'Escalier, from February 12 to 15, 2026. This presence marks a pivotal moment in the career of a painter whose approach, both instinctive and profoundly humanist, escapes rigid categories to privilege the direct, sensitive, almost meditative experience of painting.

A practice guided by intuition

For Goldberg, the act of painting is neither a matter of program nor of fixed style. Intuition and emotion are the true driving forces of his creative process. Portraits, flowers, still lifes, narrative scenes, abstractions: his work unfolds like a borderless territory where multiple pictorial identities coexist. This rejection of mannerism and systematic repetition reflects a desire for visual honesty—each canvas is born from a moment, a gesture, an immediate perception.

The artist advocates for an "unfiltered" style of painting, a direct approach that invites the viewer to an instinctive rather than intellectual interpretation. It's not about explaining, but about feeling. About looking, and then allowing oneself to be looked at by the artwork.

“The heart is the only way”

Met at the Grand Palais during the exhibition, Alejandro Goldberg spoke about his creative process with disarming simplicity. When asked whether he plans his works or acts on instinct, his answer was straightforward:

“The heart is the only way. It’s not just a path — it is the way.”

For him, painting is an act of inner alignment. Being connected to his heart, he says, allows "everything to fall into place." This almost spiritual vision permeates all his work, particularly his abstract compositions that seem to explore invisible dimensions, beyond what the eye immediately perceives. The artist seeks a metaphysical resonance within them, a space where matter becomes vibration.

To paint the other, to paint oneself

Portraits occupy a central place in Goldberg's world. They are not mere representations but encounters. When asked about his approach to the human face, he reverses the perspective:

“When I paint somebody… I am painting myself through his, her eyes.”

In this concept, the figure of the other becomes a mirror. The artist does not seek to capture a photographic likeness but a presence, a singular energy. His figures seem imbued with a silent intensity; their gazes reflect on life, on being, on the interconnectedness of individuals. Goldberg, moreover, emphasizes this notion of unity:

“All humanity is one.”.

We are all interconnected.”

This philosophy is also evident in his non-figurative works, where vitality sometimes emerges from seemingly inanimate forms. Even abstraction retains a profoundly human dimension in his work.

Art as the language of love

Beyond technique and subject matter, Alejandro Goldberg defines art as a universal means of communication. When asked whether art should provoke thought or simply evoke feeling, he chooses an inclusive approach:

“Art is a way to communicate love. Painting, dancing, cooking, singing — it’s all about love.”

This open-minded vision of creation expands painting to encompass all forms of expression. Art becomes a link, a bridge between individuals. Not a theoretical discourse, but a sensitive relationship. According to him, when the intention is right and the connection sincere, the work speaks for itself—no need to add anything.

Recognition in motion

With over forty years of experience, Goldberg has developed a unique pictorial language, combining rigor, freedom, and sensitivity. His exhibition in France marks a major milestone in his career, opening a new dialogue with the European art scene and international critics.

His presence at Art Capital is not merely another exhibition, but a moment of encounter: between cultures, between perspectives, between hearts. For Alejandro Goldberg, painting is never a demonstration—it is an invitation. An invitation to feel before understanding, to look without filters, and perhaps, for the duration of a painting, to recognize oneself in the other.