«The space that I try to paint is the one that separates me from the earth»


The retrospective exhibition of his work at the Cicca encompasses more than half a century of artistic career. In what aspects does the production you concoct in the 60s of last century dialogue with your most recent work?

This selection reveals a continuity of the themes, which has nature as a common thread, but from a metaphorical perspective on the world that surrounds me. I would summarize it in the words of Felo Monzón, who referred to “a world of lyricism and fantasy”, because I sublimate reality and transport it to another dreamed reality. In other words, reality is only the inspiration of a more dreamlike or poetic imagined world, with figures invented with their roots in nature, but conceived as ideals of a different world.

The last batch of paintings I have painted focuses on the imagined city and almost in isolation »


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Your first exhibition in Gran Canaria took place, precisely, at the Cicca, in 1975. What different styles and languages ​​have you stood out in your different pictorial stages since then?

And I still remember that exhibition, which was presented by María Dolores de la Fe and whose catalog was run by Felo Monzón. From there, I continued to advance little by little. My early stages gradually drifted towards more symbolist and surrealist languages, with a strong influence from the Luján Pérez School, where I formed a plastic thought in the wake of painters like Felo Monzón and Juan Ismael, along with poets like Lázaro Santana. Actually, the way of painting did not influence me as much as that free and surreal ideal. Then, between the 80s and 90s, I started with a more geometric stage, which, in fact, I have continued to the present, although geometric symbols always change shape.

Although its roots are of Navarrese origin, its pictorial journey is incardinated in the Canary Islands. How does the island imaginary infiltrate your work?

What impressed me the most when I arrived in the Canary Islands was the color of the earth. I remember when I saw her for the first time from the window of the plane and couldn’t look away. In fact, that is the space, from above, that I always try to paint: the space that separates me from the earth to another dimension. That is always implicit in my painting and I have captured it through a geometry that separates the spaces and then reunites them. In a way, my most geometric time has a lot to do with the Canary Islands, for its volcanic and almost pyramidal landscapes, always surrounded by the sea.

And what attracts you, specifically, about nature as the engine of your creative search?

My painting always has to do with the place that nature seeks to continue living, like a remote corner to which butterflies, parrots or lizards flee, because human beings invade them. But everything is inside me. I remember that, in the early stages, my husband, the painter Manolo Ruiz, and Miró Mainou, we used to go out a lot to paint from life, but I kept observing the landscape because I have never been able to paint from life: I wanted to change the concept and idealize that world in another way.

I have never been able to paint from life because I wanted to idealize that world in a different way »


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Does time pass by your work?

I always like to paint the future. In fact, one of my most recent individual exhibitions, I exhibited a series at the Mapfre Foundation on the south, which dealt with a new city, not from surrealism, but not from figuration either, but from my reality as seen by me. I really like the idea of ​​new and ideal cities that you can inhabit.

And how does it lead to the expression “quiet silence”, which gives this exhibition its title?

In this line that I was telling you, the last batch of paintings that I have painted focuses on the imagined city and almost in isolation, with very tall buildings, some with a single window, surrounded by water and silence, as a very elaborate synthesis of the silence or as if waiting for someone’s arrival. In this last stage I am removing subjects and simplifying all the lines until a still silence. But I still have to paint, or so I hope.

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