Argentine by birth and Mexican by adoption. He has been living in Mexico City for 20 years and it was in this city that his career in relation to music was simmered.
The band “Lost Acapulco” invited him to stop by the underground music club Alicia and since then he has stopped less than the Duracell bunny. She began to make covers for the group, then design the club’s own posters and later almost every group that set foot on the premises, ends up asking her to illustrate a record for them.
But his relationship with music does not stop there. Along with one of the musicians from Lost Acapulco, he came to put together his own label to be able to edit those albums that they liked so much and that were not of interest to the major labels.
Although his work has always been and is closely linked to the underground music movement, he has also worked with more mainstream projects. He designed the image for the Vive Latino festival and made covers and posters for Andrés Calamaro, Café Tacuba and Los Fabulosos Cadillac.
The Fabulous Cadillac took him on tour to draw live with them. He must have liked the experience because now he continues to do so with the band Sonido Gallo Negro where he also plays the theremin, an instrument fricate.
Having your own style is more difficult to achieve than gargling with Colacao, but there are illustrators who do it. Dr. Alderete is a good example of this. More than 25 years dedicating his art to music in which he has explored techniques and forms of creation but without departing from his style.
Thick line, halftone patterns for shading, flat color palettes that are repeated and the Latin American imagery as a link of all his works. If you see Jorge’s work, you know it’s his.
Making rock posters is in his sauce because he passes the rules through the lining. So much so that, the only rule that he imposes himself, he also breaks it. In his posters he does not allow instruments or musicians to appear because it would be all too evident but, as anything goes, he went from his own rule designing the poster for the Messer Chups group.
Everything he does revolves around music but his references do not stop there. Comics, B-class cinema, Polynesian culture and traveling are some of the things that most influence his work.
As a good artist, he sticks his nose in as many sources as he can and the list of artists he tracks is endless. On an aesthetic level, he freaks out with the comics by Charles Burns, Gary Panter and Guido Crepax.
He always names Micharmut and Martí from the Iberian peninsula and from Mexico he keeps José G. Cruz’s wrestling novels. Jim Flora, Robert Crumb, and Stephen Blickenstaff are recurring names in his head for artists who have moved from comics to album covers.
