Martina
My body of work explores the idea that we are shaped by those who came before us: how our family, heritage, and memories define who we become and how we perceive the world around us. It honors the imprints we carry, the fragments and snapshots of the people and moments that have left their mark on us. Through a tender and feminine lens, my exhibition celebrates my family and the beauty in genuine, spontaneous moments of human connection. At its core, it reflects on the concept of memory: how it fades, lingers, and ultimately shapes our understanding of ourselves and those we love. My work is primarily 2D, with a variety of oil, acrylic paint, and charcoal large scale pieces. It is heavily influenced by photography, as I wanted my family members to be depicted figuratively to capture their true essence and natural beauty.
One of the key pieces that shaped my artistic direction was Stone Angel, as it is the first in which I focused on the human figure. I framed the angel centrally, in a way that felt intimate and direct, which also became a defining element in my later works. Sisterhood was a turning point for my art: it solidified my preference for large-scale pieces and their immersive nature, and my inclination for using oil as my medium, as it allowed for vibrancy in the tones of the skin. It was during this piece that my theme of family and memory took full shape, becoming the emotional core of my exhibition. 5 of Us is also a particularly impactful piece, as it exemplifies many of the recurring techniques that have become central to my work: the combination of negative space and flat monotonal backgrounds with a realistic depiction of the human form. This approach is heavily influenced by 21st century contemporary artist Jonathan Yeo’s use of negative shapes, colorful and bold backgrounds, and human portraits with an unfinished quality. Another artist that has had a notable impact on my pieces and overarching themes is the Spanish 20th century artist Sorolla, who inspired my preference for spontaneity, and incited me to portray my Spanish heritage. This is particularly evident in the pieces 1972, Mediterráneo, and Iria y Oli, where I aim to reflect my culture and how that too shaped me and my family’s identity. Throughout my pieces, I explored how different visual techniques can enhance a message and reflect the love of the artist for the subject matter. For example, the pieces on the first panel exhibit a pastel palette and softer blending to convey the peace of infancy, while a more textured, vibrant brushwork in later pieces evokes the liveliness of childhood.
My exhibition space is linear, divided into two panels. I focused on arranging the pieces in a way that would make sense to the audience regardless of where they approached the exhibition, whether it be from the front or from either side. Sisterhood is the focal point of the exhibition, placed at the center to anchor the surrounding works. On the first panel, I included pieces with pastel tones and softer atmospheres, depicting infancy. The color palette then shifts into brighter hues in the second panel, capturing the energy and wonder of childhood. The visual progression mirrors a journey through early life, from quiet beginnings to more vivid, expressive stages. I also considered balance in scale, altering big and small artworks to guide the viewer's eye across the space.
My intention is for the audience to understand the love that I have for the people depicted in my work, and for them to notice how I convey these themes through my artistic choices: how I am able to communicate nostalgia and familial connection through the use of negative space, composition, color palette and texture. I also hope the audience reflects on how their own life is composed of snapshots: small, fleeting moments that often gain meaning in hindsight. Lastly, just as my work draws on photography, I want my audience to consider how it has shaped their own perception of early memories, what they recall and what has faded.
A Mother’s Embrace (November 2024)
Oil and acrylic paint on canvas
80 x 115 cm
A Mother’s Embrace is based on an old photograph of my aunt’s birth.The soft blurred brushstrokes, pastel color palette and empty spaces aim to continue the theme of memory and the gaps that we unconsciously leave, while seeking to preserve the tender atmosphere of the moment. I drew inspiration from Mary Cassatt’s and Berthe Morisot’s body of work, and the techniques they use in portraying a feminine and warm ambiance. I also mirrored their painting techniques to depict soft and delicate skin.
Mediterráneo (February 2025)
Charcoal, chalk, and white paint marker on paper
76 x 106 cm
Mediterráneo is based on an old photograph of my mom and grandmother on a Mediterranean beach. The large scale, zoomed in composition, and soft textures exhibit the intimacy of the moment and mirror vintage black and white photography, reflecting Imogen Cunningham’s portraiture. The white text on the background is the lyrics of Joan Manuel Serrat’s poetic song Mediterráneo, which in combination with the small drawings of boats and people aims to evoke an innocent and playful view of this region.
Stone Angel (October 2023)
Acrylic paint on wood
47 x 21 cm
Stone Angel explores the coexistence of humans and architecture in cities. Based on a closeup of a Parisian facade, the long format creates a contemplative frame aimed to draw attention to the juxtaposition between the organic, innocent figure of the child and the austere material of the sculpture. I used acrylics to balance realism with visible tonal shifts, drawing inspiration from Richard Estes’ photo-realist paintings and his techniques for capturing light and materials around the city.
Iria y Oli (February 2025)
Oil paint on canvas
152 x 187 cm
Iria y Oli is based on a picture of my siblings in our grandparent’s coastal village. The large scale draws viewers into the scene, while the vibrant and slightly exaggerated color scheme aims to reflect a child’s bright and optimistic view of the world. Oils allowed me to depict the faces figuratively, while maintaining an impressionistic feel in the background and surroundings. The composition of this piece is aimed to mirror classical catholic paintings like Madonna and Child by Botticelli.
4 of Us (March 2025)
Oil and acrylic paint on wood
50 x 50 cm each
4 of Us is a series of 3 paintings depicting closeups of my family members asleep in childhood. I drew inspiration from Jonathan Yeo in painting only the faces figuratively, leaving the surroundings as line work, and creating vibrant backgrounds. The dark areas of the faces were left transparent to allow the background colors to peek through and hence integrate the figures with the surroundings. This contributed to the effect of memory and in creating a youthful atmosphere.
Those Who Came Before Us (March 2025)
Cyanotype paper on painted wood and metal pins
108 x 76 cm
Those Who Came Before Us is a tribute to my family, showcasing cherished moments across three generations. This piece is an homage to photography, as it is the only piece in the exhibition where the images are not interpreted, but are rather presented as the artwork themselves. The blue caused by the cyanotype evokes nostalgia through its dream-like, faded quality. The presentation, a series of photographs pinned to a wooden board, emphasizes the raw, archival nature of memory.
Beginnings (March 2025)
Oil and acrylic paint on wood
50 x 50 cm
Beginnings depicts my sleeping father in his infancy. I drew inspiration from Jenny Saville in the gestural depiction of the baby, contrasting the figurative portrayal of his face with an expressive background. The complementary hues of the baby’s skin and background creates a strong visual contrast, and it suggests warmth emerging from a cool and dreamlike space, highlighting what is preserved in memory. The quality of oil paints provide color vibrancy, texture, and luminosity to the piece.
