• I consider my paintings to be a rupture with the eternal comeback to the linen in white.
  • We live in these times and the art must be constructed on already existing structures.
  • This way my works are based on a careful selection of high quality textiles, with designs especially chosen to give importance to my line, opening new horizons.
  • I use the human body to express feelings of the being, creating a special ambience.
  • 2014 – Seleccionada als XI Premis Jose Mª Vidal d´Arts Visuals. (Galeria Alonso Vidal, Barcelona).
    2014 – Accèssit al 1er Certamen Creatiu Josep Villalbí Verge.
  • 2007 – Seleccionada per al Premi de Pintura LA MUTUA
  • 2006 – Seleccionada per als premis ARTFAD 2006 del FAD (Barcelona)
  • 2000 – Beca “Jóvenes Creadores del Masnou”
  • 2000 – Beca para assistir com alumna al Real Círculo Artístico de Barcelona

Interview Julia Marqués. Questions and answers

For her canvases she uses stamped textiles which designs go out to the surface in all the paintings, granting to the personages an aura of very particular unreality.

I distinguish a big linen in which l’herbe of Manet knew by intuition a rereading of the south Déjeuner, and do not find better way of starting.

I do not know if it is because I like Manet, but there I see certain influence (in reference to the picture that you already know)

– after visiting museums as who, he assists to all the movies premieres … influences I have many. I like thinking that I am like a sponge and then I extract my own juice – conclusion.

Observing most of your paintings, I feel calmness. Is it my paranoia?

There are moments of Reflection, something that I practise for ages …

Your personages remind those of Edward Hopper to me. He had to say it to you.

More than Hopper what marked me deeply there were two books of Desmond Morris on the behaviour of the human being in society, we are very instinctive and closer to the animal about what we think:

– Tell me it again of the stamped textiles, please. Why? When?

– at the age of 18, of so many change and so much I annoy, I met a few partners of art who had roots, they all could where its hearth was and where they could return. I not! I began wondering where the hearth was for me, my familiar roots led me to the textile. I began doing on him like an amulet of nostalgia, this where this, this one with me my hearth, my treasure (laughs)

There is something that excites me and is that you turn be afraid that, seemingly, they have not anything in common with the art, in subjects of your pictures, like Ferran Recasens and its manoeuvres of windsurfing. Tell us your ideas on the beauty.

– the life is an art, the ways of living also! A colouring windsurfing sail, the wind and the sea … a boy enjoying … say to me you if there is no beauty?!

Long ago it seems that you have the very clear ideas with regard to the general aesthetics of your work. Is it an iron will for having a proper language or the thing it flows for your veins?

– I am not a woman who controls its life, not also the art. But after 24 years’ brush in hand, I was finding my way of talking with the images. What you call “a proper language”, is that it is me who is!

There is a part of your work that centres on the engineering, let’s say, civilly. Where from does the taste come?

– To remember part of the past of my grandparents that was not explained to me in due time and that I wanted to paint … a caprice

And also is the portrait. Who are your models and what do you see in them?

– I see, see … realities! Determination or simply the concept that in this moment I walk close. To find the model adapted in the suitable moment.

The Doctor De Benito entrusted you a series of linens for its face-lift clinic. How did you focus the topic?

– it was a hand to hand with its ex-wife Rosina, she explained its aesthetic intention to me and I captured it with my language. It was a situation artistically creative.

What is the profile of the buyer of your work?

– there is no profile: they ask you, you answer, they fall in love with the painting … and already

Speak to me about your vision of the art and of the market of the art.

– I try not to do to myself any idea of the market of the art, I am idealistic.

As Miquel Barceló said, between looking at a work of art on a computer screen or admiring it in a museum there is the same difference as between the sex for Internet and a good dust. Where can we enjoy your work in alive? (laughs)

-In galleries as El Quatre. Also it is possible to visit my workshop.

Into what do you walk put now? (we will put photo of the last thing that you are doing, it is me who says)

– I return to the oil painting and for the time being I leave it in one: It will continue …