Text by Rosa Queralt
The workshop still life as an introspective exercise
has been a recurring theme for many painters throughout history. The sentimental and emotional contamination, derived from the relationship between the spaces and objects that surround the artist in this period, spurs her inevitably to convert them in subjects of her paintings. There is also another factor that may explain this diffidence: With technological media at its peak in the art scene in Spain and internationally, this perception induces artists working in traditional disciplines such as painting or sculpture to procure for themselves a few instruments that allow them to consider the aesthetic experience as a place of self training and knowledge, which as well as ideology include: questions of knowing who and where they are, taking advantage of their time of seclusion to explore different genres and methodologies to address the execution of the work by dissolving it in a mobile fluidity of desire, idea, material, form etc until all the elements that are involved in the process are addressed as phenomena.
This isolation added to an awareness of a state in transition, individualises the personal even further. It is a typology of independent artist, as is the case with Idoia Montón, not prone to bowing to hegemonic tendencies, especially the authoritarian but at the same time obedient notion with which they take on the creative act.