Eduardo Alvarado (Miranda de Ebro, 1972) paints because he believes in painting as a means of expressing truth. The act of believing is determined by the object of belief and by the person who performs that act — in this case, painting and the painter.

Painting, as the first factor, is something essential that defines the intensity and qualities of the artist. The second factor, the painter, can only be understood through the grace that allows him to enter into a humble connection with it. For this reason, the artist must recognize this relationship as a prior condition of his practice.

For Alvarado, painting is a method of knowledge. The richness of pictorial expression depends on the way each artist encounters painting. It is a fully free act, yet one inserted within the act of knowing; its freedom is possible only if it responds to truth and opens itself to ultimate meaning.

The painter perceives truth embodied in reality, which requires no external validation. Through it, he accepts reality as a space of expression and as the horizon of a knowledge always oriented toward the future.

The most advanced form of knowledge arises from mystery, capable of understanding and expressing truth. Painting thus becomes the insertion of the infinite into space and the eternal into time. The freedom of the creative act grows as it opens itself to a freedom greater than its own.

Trusting reality implies accepting the risk of surrendering to a future that can never be fully known. Faith in painting guarantees this freedom — the freedom to give oneself to mystery as an ever-expanding space of personal and non-transferable expression.

Finally, painting possesses a universal dimension: as the artist embraces the mystery of painting, his work becomes more universal. Faith in painting is therefore not the property of the painter, but a tool for transmitting truth.