Texto por Rosa Queralt
Continuing the inquiry into the artist’s flat paintings
we are reminded of works made during her training, in which the spirit of storytelling and the scenes of fiction from literary evocations still thematically dominated. Now, however, she places the action preferably in natural landscapes, the embodiment of which still has the feel of flatness. Another development is the exclusive use of acrylic, something that had appeared timidly in some previous works in the place of paper cut-outs, which releases and enriches both the chromatic properties and the structure of the painting.
These works show her progressively approaching nature as a way to incorporate the reality of the environment into the painting. At the same time that they persevere in their concern for spatial issues, which drive her to investigate the materiality of the medium – incorporating the accidental suggestions that come from the reclaimed wood – and experimenting with its format and continuing to explore the drawings that are generated on the surface of the painting. Between the balance derived from a greater technical confidence on the one hand, and the tension and the questions implicit in the practice of the art when there is a strong desire to continue to grow on the other, she counters spirit and matter, idea, image, objectivity and imagination, concept and shape, space and time. These works represent the attempt to express such dichotomies and, therefore, make them real and communicable.