Solcades, 2016
Algrafía y fotolitografía100 x 70 cm.
"Solcades[1]," 2016
Algraphy and photolithography
100 x 70 cm.
[1] Translator's note: The text in quotes in this group of captions appears to be in Catalan.
Grabado calcográfico y fotograbado
150 x 30 cm.
"Solcades II," 2014
Chalcographic engraving and photoengraved
150 x 30 cm.
Acción en la Galería 9. Día 03.03.2016. 20,00 h.
Valencia. España.
Action in la Galería[1] 9. Day 03.03.2016. 20.00 h.
Valencia. Spain.
Linograbado + parafina pigmentada
20 x 8 cm.
Linocut + pigmented parrafin
20 x 8 cm.
Algrafía
70 x 50 cm.
"Petjada arrel," 2014
Algraphy
70 x 50 cm.
Libro de artista: xilografía + hilo (papel y tejido)
35 x 250 cm.
"Perder la identidad,"[1] 2014
Artist's book: xylography + thread (paper and weaving)
35 x 250 cm.
Terra i cel solcat, 2016
Linograbado gofrado y troquelado + fotografía + parafina + agujas
10 x 15 cm. c/u
"Terra i cel solcat," 2016
Embossed and dyed linocut + photograph + parrafin + needles10 x 15 cm. ea
Xilografía
60cm. de diámetro
From the series[1] "Orgànic," 2014
Xylography
60 cm. in diameter
[1] Here I break from my choice not to translate titles and translate the
Castilian part of this title. I decide that the informative function is more
relevant than the expressive in this case, because it distinguishes this series
from other series by the artist. I make a similar distinction in the case of
informative titles such as "Untitled," or "Dyptich."
Diccionari orgànic, 2014
Linografía
60 cm. de diámetro
"Diccionari orgànic," 2014
Linography
60 cm. in diameter
Linograbado
60 cm. de diámetro
From the series "Orgànic," 2014
Linocut
60 cm. in diameter
Grabado calcográfico, linografía + cinta adhesiva
32 cm.
"Orgànic II," 2014
Chalcographic engraving, linography + adhesive tape
32 cm.
Litografía, algrafía + cinta adhesiva
32 cm.
"Orgànic III," 2014
Lithography, algraphy + adhesive tape
32 cm.
Celular I, 2016
Algrafía
70 x 50 cm.
Algraphy70 x 50 cm.
Las mujeres desde los orígenes de la humanidad han sido las responsables de alimentar y cuidar de sus familias, este gran papel ha sido invisibilizado así como sus derechos menospreciados. Concretamente las mujeres de l’Horta fueron la columna vertebradora de la familia y núcleo básico de la producción agrícola. Con la industrialización las mujeres salieron de l’Horta para trabajar en la ciudad, y por tanto el esquema tradicional se modifico y dejó de constituir la principal actividad laboral.
En estos momentos se observa un retorno de estas mujeres agricultoras, como titulares de sus explotaciones y con otra función renovada, más conscientes de crear una agricultura orgánica.
El proyecto parte de esta premisa y plantea “formas creadas” que crecen orgánicamente como las formas naturales. Hablar de las “formas abiertas” de la naturaleza, hablar de un “crecimiento infinito” de la reticulárea, abierta en el espacio. Crecimiento progresivo, articulado, que incorpora el tiempo a la forma creada: el tiempo se convierte en forma.
El artista tomará aspectos de lo natural a partir de los que desarrollará sus poéticas…
La naturaleza es, pues, una fuente inagotable de “modos de ver”, “modos de crear”, “modos de construir”, “modos de crecer” y de “formar”.
Since the origins of humanity women have been responsible for the feeding and care of their families, this great role has been made invisible as their rights have been undervalued. In particular the women of l'Horta were the backbone of the family and basic nucleus of the agricultural production. With industrialisation women left l'Horta to work in the city, and therefore the traditional blueprint transformed and stopped constituting the principal work activity.
Currently a return of these women farmers is noticeable, as owners of their farms and with another renewed function, more conscious of creating an organic agriculture.
The project takes off from this premise and lays out “created forms,” which grow organically as the natural forms. To speak of the “open forms” of nature, to speak of an “infinite growth” of the reticular area, open in space. Progressive, articulated growth, which incorporates time into the created form: time converts itself into form.
The artist will take aspects of the natural world from which they will develop their poetics...
So nature is an inexhaustible source of “ways of seeing”, “ways of creating”, “ways of constructing”, “ways of growing” and of “forming”.
Since the origins of humanity women have been responsible for the feeding and care of their families, this great role has been made invisible as their rights have been undervalued. In particular the women of l'Horta were the backbone of the family and basic nucleus of the agricultural production. With industrialisation women left l'Horta to work in the city, and therefore the traditional blueprint transformed and stopped constituting the principal work activity.
Currently a return of these women farmers is noticeable, as owners of their farms and with another renewed function, more conscious of creating an organic agriculture.
The project takes off from this premise and lays out “created forms,” which grow organically as the natural forms. To speak of the “open forms” of nature, to speak of an “infinite growth” of the reticular area, open in space. Progressive, articulated growth, which incorporates time into the created form: time converts itself into form.
The artist will take aspects of the natural world from which they will develop their poetics...
So nature is an inexhaustible source of “ways of seeing”, “ways of creating”, “ways of constructing”, “ways of growing” and of “forming”.