Elena Gual

Elena Gual has a marked and recognizable technique inspired by the image of interracial women despite continuing to open new lines of work and even venturing into abstraction. Her work is characterized by the use of the palette knife and his knowledge of Renaissance painters and classical sculpture techniques.

All this, thanks to the three years of training at the art academy in Florence. Later she moved back to London, where she lived from the age of 16 to continue her training at the Royal College of Art and Central Saint Martins. She has exhibited in Monaco, Paris, Venice and London. Back in Spain, Arena Martínez Projects presents her work for the first time in her country at Estampa 2021 fair, on the occasion of the Art Madrid fair her work can be seen for the second time in Spain.

Elena Gual

Reflexión, 2021

Oil on canvas

40 x 40cm

Interview:

¿What inspires you to create?

I don’t think I have something special or a new perspective on the subject. In the end, it is mainly the colors, the emotions I feel on a daily basis, even my journeys are a source of inspiration. Throughout my career I have also started recognizing that inspiration is also a solution to a problem. Like Picasso said once, inspiration is found through work, and that is exactly what I do. When something does not quite come out as I expected, I start producing and evolving, until I find a goal that I’m satisfied with.

¿What have you been working on lately?

During the last 4 years I have centered my production on womanhood, trying to reach equality between us through my strokes on the canvas. Lately I’m centering myself a lot more on emotions, I think that is the reason why I am a lot less conceptual and more figurative these days. I am focused primarily on the subject of our bodies and equality.

Elena Gual

Niza, 2021

Óleo en tabla de madera

37 x 35cm

Tell us about your creative process.

When I studied in the Accademy of Florence, before sitting at the easel the process was: sketching, studying the composition and studying the light. It helped me a lot when it came to creating my own artwork. It makes me understand exactly what I want: from composition, to lighting, from start to finish.

Is this your first time at the fair? What do you expect Art Madrid?

Something that I really love about art fairs is having my paintings exposed to the public, having them to be present in the event knowing that many people will see them. I like to think that they will cause a wide range of emotions: some people will stop and stare at them, others will completely ignore them. But most importantly, they will be in the memory of many people.

In your realistic portraits you represent female figures of different ethnicities, ages and cultures. Are they women you meet on your travels, are they part of your life?

Most of the women I have painted have been part of my life in some way or another. I have known them in my journeys, I have co-lived with them many adventures. But I have to say that, now more than ever, I try to inspire myself in the connection I make with these women, in something more concrete, like a story that they choose to tell me, and from there I try to recreate an emotion.

Elena Gual participates in Art Madrid with Arena Martínez Projects, along together with Paspartus, Carlos Cartaxo, Juana González y Francisco Mendes.

ABIERTO INFINITO. LO QUE EL CUERPO RECUERDA. CICLO DE PERFORMANCE X ART MADRID'26

Art Madrid, committed to creating a discursive platform for artists working within the field of performance and action art, presents Abierto Infinito: lo que el cuerpo recuerda, a proposal inspired by Erving Goffman’s ideas in The Presentation of Self in Everyday Life (Amorrortu Editores, Buenos Aires, 1997).

The project unfolds within a theoretical framework that directly engages with these premises, conceiving social interaction as a stage of carefully modulated performances designed to influence others’ perceptions. Goffman argues that individuals deploy both verbal and involuntary expressions to guide the interpretation of their behavior, sustaining roles and façades that define the situation for those who observe.

The body — the first territory of all representation — precedes both word and learned gesture. Human experience, conscious and unconscious alike, is inscribed within it. Abierto Infinito: lo que el cuerpo recuerda departs from this premise: representation inhabits existence itself, and life, understood as a succession of representations, transforms the body into a space of constant negotiation over who we are. In this passage, boundaries blur; the individual opens toward the collective, and the ephemeral acquires symbolic dimension. By inhabiting this interstice, performance simultaneously reveals the fragility of identity and the strength that emerges from encounter with others.

PERFORMANCE: OFF LINE. JIMENA TERCERO

March 7 | 7:00 p.m. Galería de Cristal of the Palacio de Cibeles.

OFF LINE is a performance piece that reflects on the fragility of the body in the digital age. Our relationship with the outside world is mediated by a screen, which distances us further and further from physical contact and interpersonal relationships. Focusing on creating a digital identity causes the body to distance itself from the physical world and lose its memory.

Hyperconnectivity and fragmented attention lead to a more passive physical existence, characterised by reduced spontaneous movement and less direct sensory interaction. This raises fundamental questions: how is the concept of presence redefined when our relationship with the world relies on technological mediation? What will the experience of the body be like in a future where virtuality predominates over the physical? There is a risk of progressive bodily passivity: bodies that remain still, whose activity is determined by devices and whose memory is stored digitally. The fragmentation of physical experience and the primacy of technological representation create a scenario in which, although the body is visible, it is displaced from its original function as an agent of perception and action.

This conceptual framework invites reflection on the impact of digitisation on corporeality, memory and social relationships, and on the vulnerability and inertia experienced by bodies in environments that are increasingly mediated by technology.

ABOUT JIMENA TERCERO

Jimena Tercero (Madrid, 1998) is a multidisciplinary artist whose work explores the boundaries of the female body, identity, and the subconscious. She uses performance, video, and painting to address concepts such as memory, tangibility, and play. Tercero trained in painting with Lola Albín and in analog photography at Cambridge in 2014. She studied audiovisual direction from 2018 to 2020 with renowned figures such as Víctor Erice and the production company El Deseo. She is currently pursuing a Master's degree in Creative Direction at ELISAVA. She completed her performance training at La Juan Gallery. In 2011, she was part of the children's jury at the Isfahan Film Festival in Iran.

Her directed works include Private (2016) and Paranoid (2021), which were exhibited at the Aspa Contemporary Gallery. She has also worked on projects such as Yo, mi, me, conmigo (2023, Teatros del Canal), Inside Voices (2021, Conde Duque with Itziar Okariz), and La última regla (La Juan Gallery). She has directed fashion films for publishers and brands such as Puma, Dior, and Dockers. She has also provided art direction for artists such as Sen Senra and Jorge Drexler. Additionally, she directed the documentary Also Here for ArtforChange–La Caixa. She presented Out of View (Nebula Gallery), EDEN (White Lab Gallery), and Navel Bite (Sinespacio). She participates in residencies such as Medialab with Niño de Elche and Miguel Álvarez Fernández. In 2025, she will be part of the Special Jury of the Asian Film Fest in Barcelona and the International Cultural Museum of Assilah Art Residency in Morocco).