Text by Rosa Queralt
The representation leaves behind the literary sources
and this journey towards new approaches is influenced by two elements to which the author feels very close which have begun to appear in her paintings with increasing frequency: nature and animals, like two realities both external and internal. Both converge in White on white, a work from 1994, significant also for exemplifying the growing attention to the pictorial medium in the embodiment of the natural spaces. The step onto the use of oil and the analysis of classic works led her to transform an aspect which until then was resolved through uniform planes whether paper or pigment: the skies, which become the protagonists in this period for their activity and atmosphere. On the other hand, the presence of animals in her paintings should seem inevitable if we bear in mind that they have accompanied her constantly from childhood, in a process of identification and sociability.
Symptoms thus appeared indicating that her personal life and painting interacted ever more closely, coming from the feeling that the principal source for a living art should arise from the beat of her own daily experiences. However, despite this conviction dictated by her instinct, assuming the transition to pure realism was not an easy decision. There would be an inevitable rejection of the naturalistic mimesis as though it were a simplified and easy lure that conceals not only the complexity of the human evolution but the controversial nature implicit in any kind of determination. The challenge was to find a simultaneous valid response to this linguistic and conceptual dilemma, without resignations or betrayals.