2017 MARCH: «This poster is made primarily from painting. The original was 120x60 cm and was painted in 2016. The basic idea was to make a picture that contains two pieces in one. The canvas color in gradient and rhythmically blends in from one color into another.
It looks like a live organism. Or looking through the microscope at something organic.
No one for the two parts are more important. Both have the same equality. As if they were the two powers of this world nature: dark/light; cold/warm; ect. That is in part the reason why the transit between the colors is smooth, affable, tender, but creates at the same time an unavoidable sensation of roughness. I was working on this composition for about a month in order to get these feelings.
On the painting usually I cut the dark parts. So it looks even more realistic.
I am very glad to present this piece slightly adapted in the new background and in the new medium.»
2017 APRIL: «Has the crisis left us with no ideas? Could we say that we are blank? Billboards that once advertised real estate developments have given way to blank canvases, surfaces that have not even been occupied by advertising. These spaces seem to reflect the present state of the country, lethargic, without a clear horizon or illusion, seemingly without ideas, blank. They could well be used as places of opportunity, even to be a perfect showcase for artistic creation, however they remain barren, waiting. But, waiting for what? A new generation? Maybe a specific person? Or that everything returns to be as it used to? These already built places are lacking proposition: a hand that makes a first scribble on them while waiting for more hands to be added, capable of completing a tapestry called future. Meanwhile they remain inert. How long will they stay like this? Can we even be waiting indefinitely?»
2017 MAY: «The term dazzle (or razzle-dazzle) is generally used in reference to the camouflage paintings used in large combat ships during World War I with the aim of difficulting the calculation of their speed and direction by the enemy submarines.
The visual references of this billboard are, on the one hand, the dazzle camouflage and, on the other hand, the emotional, reductive and ambiguous language characteristic of the advertising communication.»
2017 JUNE: «TO SIR GORDON HOWARD HODGKIN AND DON LUIS GORDILLO
Remember the fertile CHAOS, to understand the similar COSMOS.
I am the beast who looks for the spring, I am the character of a female artist. Louis Vauxcelles feared to be devoured, and he named me, and by naming me he named the relentless, inextinguishable thirst, if not in the pure water of the archaic resources. 'Fauvisme, fauvisme', he shouted.
I am the beast awake from the hermetic dream of the dormant inheritance. I'm the girl who gets up hungry. And I "announce" you heaven and earth, unlimited in the beginning.
Jungles in Valladolid.
I am the blue rider, but do not get confused, I love a "Donatello among the beasts".
Agustín de Julián, as if it were Paula Fraile. In Madrid. June 2017»
2017 JULY: «There is no concept behind this photograph, everything was just spontaneous. When I was there it was just an amazing moment with surrounding. Its all about adventurous time, it's all about happiness and escaping the reality into a magic mesmerizing time and moment with amazing views around.
When I'm in the streets, I prefer to shoot an environment that people are not realizing or an objet they are not aware of but that's unusual, bizarre, strange, mysterious and satisfies me while I gaze at it. All that's for me just beautiful. And I love to photograph it.»
2017 AUGUST: «The window from my home is joined with the water from Venice. Water is the primeval painting of nature that im exploring for years now. It seems so hard to observe something that is static nowadays, water becomes the organic flickering, the three dimensional alternative to the screens that we are used to seeing everyday.»
2017 SEPTEMBER: «As life itself, there are good and bad things. Perhaps advertising produces realities in pursuit of commerce, but they are false archetypes. What I liked about this piece is the invitation to visit a reality, good or bad, but reality after all.
The matchbox is an element of Chilean pop culture and for me it represents the exploited beauty of the country. That's the reason of the invitation, while advertising Chile as I see it: as a beautiful place, forgotten by God.»
2017 OCTOBER: «A summer afternoon some hungry dogs ended the life of the sister of the hen that I buried and I photographed, as a tribute, in this analogue polyptych. The next day, she dawned dead, while she slept, inside the chicken coop. He died of grief. I didn't know something like this could happen, but I found it firsthand.
I did it through the analogue photo, which is slow and surprises you after its way through the laboratory. Multiplying its size and placing this tribute in the streets of Valladolid has been quite an experiment.»
2017 NOVEMBER: «I often check spots. I notice wall chips, stains on tablecloths or puddles. I also analyze the development of a project, from the beginning to the end. I think I try to interpret it equally. I like to think about what things can become, where a project can reach, what a person can give and how to collaborate with him/her. The reappropriation of a billboard in the middle of Valladolid through an intervention, almost mural, in which an operator has placed the spots with which to play together with passers-by ... I find it quite interesting. And you?»
2017 DECEMBER: «I had to choose the photo in another way, plus just one. Now photographers are used to working on projects. I think that the single photo has been left behind, now it's more about the context, to get several photographs that speak of the same thing, and in the end that's how your head works when you talk about something. So having a somewhat lonely image, that spoke by itself, was complicated. I liked the project because of this. It's a huge impression and you wonder...what's going to happen?»
2018 JANUARY: «My work is a cut made with scissors, with my way of cutting - I do not follow the shapes - and then, in this case, I have modified it digitally, based on repetitions, giving more weight and three-dimensionality. [...]
I tried to make some compositions with small elements ("small" as far as possible). But in the end I decided to take the small element of repetition and put it in value. I think it has been a success.»