In Alejandro Santiago's work we find ourselves faced by an innate colorist, a lover of alchemy and the sensual game created among forms, and initiate a dialogue with the viewer, in other cases, they simply pose in a complacent and misshapen attitude. Their penetrating gazes-created with only a dot, with a circle or an oval - surprise us; it is astounding that to the noisy party for the dead, that party of skeletons with which the Mexican people boisterously revive their spirituality, their knowledge that the soul does not die, and their understanding of eternity. Other ideas, both festive and non-festive, crisscross in the picture's setting: ideas and maternity, dance, and fertility. All of them passed through the painter's imagination, and he did not miss the opportunity to contain them and give them color. Santiago's closest references include Tamayo and synthesis of line and plane to reappear in painting, perhaps by borrowing ideas from primitive art.