LIL BLANC: SEQUENCE OF GRADIENTS
Jan 21, 2025
art madrid
CONVERSATIONS WITH MARISOL SALANOVA. INTERVIEW PROGRAM. ART MADRID’25
Lil Blanc (Madrid, 1993) began by experimenting with textures, gradually evolving toward gradients and exploring the transition from one color to another. This led her to a form of abstraction that expresses intense emotions. Her artistic journey started with a focus on high-gloss finishes, but the structure of her paintings has grown increasingly significant, transforming each into a nearly sculptural piece. The gentle gradations of color in her canvases evoke sunset skies, and her intent to capture that fleeting moment stems from a personal experience watching a summer sunset. Her work is not only observed but also experienced, inviting reflection on time, transience, and space. A perfectionist by nature, she adheres to the philosophy that less is more—a legacy of her architectural background. Without artifice, she crafts stories that are not immediately evident, embedding layers of meaning within each piece.
What role does experimentation play in your creative process?
For me, experimentation is innate and natural. Being in constant production generates movement and a flow of ideas. I started with more organic works where textures took center stage, eventually shifting toward gradients and high-gloss finishes, each step driven by the pursuit of perfecting my technique. No two works are alike; in fact, there is always a continuous search to create something new and different.
Who are your references?
Having studied architecture instead of fine arts gives me a different set of influences, which certainly shapes my creative approach. I’ve always been inspired by Mies van der Rohe’s "less is more," the color palette of SelgasCano’s Serpentine Pavilion, and the fantastical creations of the Archigram group. Additionally, social media connects me with contemporary artists. For instance, I admire Nick Thomm’s XXL high-gloss pieces, “onekean_” for his gradients, and C. J. Hendry for her mastery of colored pencil.
What is the most recurring internal dialogue in your creative dynamic?
I rarely listen to music while working; I prefer silence, as it helps me think. My most frequent dialogue is with the piece I’m creating—I think about how to convey its story and the words that will bridge the connection with the viewer. I also anticipate potential questions and draft responses. In fact, I invent dialogues about the piece, which influence my process; if something contradicts the message I want to convey, I revise the work itself.
How would you like your work to be perceived?
Artistically, I want my pieces to bring joy to people, to warm spaces, fill rooms with color, and leave a noticeable void in their absence. I want the gloss to reflect the happenings of a room and for the gradients to harmonize with natural light, evoking balance and serenity. On the other hand, I strive for the highest quality and perfection. From the first step to the last, I meticulously oversee every detail. I’m a perfectionist, and my goal is for the viewer to sense this simply by contemplating the work—for the piece to speak for itself.
What technical challenges do you currently face?
The second part of the process presents the greatest difficulties. Achieving a flawless high-gloss finish requires extreme precision, attention to every detail of the process chain, respecting timing, and turning an artistic endeavor into something almost chemical. Moreover, working with large formats up to three meters adds to the complexity. Yet, when I see the final result, it’s all worth it.
