Irradiación
Solo show by Marina Roca Díe
Irradiación
Solo show by Marina Roca Díe
30 November 2023 - 12 January 2024
Credits
Goro Studio
"Turning something from an idea
into a reality
can make it seem smaller.
It changes from unearthly to earthly.
The imagination has no limits.
The physical world does.
The work exists in both."
Rick Rubin
Marina's pictorial exploration starts with the human body and its relationship with the environment and nature. Her paintings have evolved through human figures that transform into natural elements, creating a symbiosis between the real and the imaginary.
Now, she takes a pause to observe the surroundings of these mutating characters and enjoys developing the scenographic moments, which could be terrestrial, like a park or a pond, or extraterrestrial, like the sun and its surroundings, expanding until reaching black holes — as happens in this exhibition.
The ability of painting and painters to find and represent what isn't there continues to astound and inspire us. In a very particular way, artists commune with the ether that surrounds us all, but not everyone knows how to interpret. As if they were sporadic — we dare say not constant — universal cosmic connections, Marina tells us what she has seen out there, ranging from what we can all observe to what we can only imagine. It is curious the way artists reach their conclusions, and it's incredible that these conclusions are never the same.
Examining Marina's artistic journey over the past years helps us understand why she has arrived at this exhibition at this moment. During her eight years in Berlin, her pictorial research revolved around earthy colors, ranging from gray to brown, with a concern that moved from the external to the internal; the body and various impossible mutations encompassed the entirety of her work. However, the body of work that constitutes Irradiación performs the reverse exercise: the paintings go from the close to the distant, as if it were a journey to the universe at the speed of light. Light has precisely been the driving force of this odyssey. The Madrid light has fascinated the artist again: have you noticed how things, figures, buildings overlap with the sky as if cut by a cutter? Looking at the sky is how this series begins, observing the changing colors by the light of this city. And where does that light come from? From the sun, from a sun that seems like a different star in this part of the world. Thus, the paintings start with the colors of grass, trees, water in the pond, and the gaze travels to the sun's rays, ultimately finding its vortex in the radiant and almost unrepresentable sun. Curiosity has led Marina to wonder about what lies beyond the sun — investigating its reflection on the planet, she has landed on what could easily be understood as the antagonist to the luminous sphere: the black hole. How to represent these opposites on canvas? How to work with the total light and darkness? How to give form to what we cannot see, only imagine and speculate? Once again, the exercise of painting brings us closer to what surrounds and connects us; to believe, we don't need to see, but in this case, we can believe in what we see.
Now, she takes a pause to observe the surroundings of these mutating characters and enjoys developing the scenographic moments, which could be terrestrial, like a park or a pond, or extraterrestrial, like the sun and its surroundings, expanding until reaching black holes — as happens in this exhibition.
The ability of painting and painters to find and represent what isn't there continues to astound and inspire us. In a very particular way, artists commune with the ether that surrounds us all, but not everyone knows how to interpret. As if they were sporadic — we dare say not constant — universal cosmic connections, Marina tells us what she has seen out there, ranging from what we can all observe to what we can only imagine. It is curious the way artists reach their conclusions, and it's incredible that these conclusions are never the same.
Examining Marina's artistic journey over the past years helps us understand why she has arrived at this exhibition at this moment. During her eight years in Berlin, her pictorial research revolved around earthy colors, ranging from gray to brown, with a concern that moved from the external to the internal; the body and various impossible mutations encompassed the entirety of her work. However, the body of work that constitutes Irradiación performs the reverse exercise: the paintings go from the close to the distant, as if it were a journey to the universe at the speed of light. Light has precisely been the driving force of this odyssey. The Madrid light has fascinated the artist again: have you noticed how things, figures, buildings overlap with the sky as if cut by a cutter? Looking at the sky is how this series begins, observing the changing colors by the light of this city. And where does that light come from? From the sun, from a sun that seems like a different star in this part of the world. Thus, the paintings start with the colors of grass, trees, water in the pond, and the gaze travels to the sun's rays, ultimately finding its vortex in the radiant and almost unrepresentable sun. Curiosity has led Marina to wonder about what lies beyond the sun — investigating its reflection on the planet, she has landed on what could easily be understood as the antagonist to the luminous sphere: the black hole. How to represent these opposites on canvas? How to work with the total light and darkness? How to give form to what we cannot see, only imagine and speculate? Once again, the exercise of painting brings us closer to what surrounds and connects us; to believe, we don't need to see, but in this case, we can believe in what we see.
