Sra. D, a.k.a Lara Padilla

The work of Sra. D, a.k.a Lara Padilla, encompasses disciplines such as painting, sculpture, dance, performance and fashion design. Her mostly figurative pieces draw attention to female power representation through the deformation of the body and the use of colour and textures. A vindication of gender exhibited through large hands as powerful instruments of battle or heavy feet, an image of the perseverance of women in their struggle. Sra D. understands art not as a silent showcase but as a path of political action and intervention. Her aesthetic is an ode to diversity, portraying all types of bodies to promote a look of equality and authenticity.

Her performances dialogue face to face with his pictorial and sculptural creation through the similarity between compositions and trajectories. The use of body painting underlines the plastic aspect of his choreographies, while in his urban actions, he insists on this reflection on the construction of identity conceived as belief. However, the female body is not a prison for Sra. D. In her latest creations she has expanded her visual discourse by exploring African and pre-Columbian art, cultural chapters of great social and conceptual significance such as Genesis or the interaction of bodies with new supports and textures.

Lara Padilla

Black Tetris Magnum, 2021

Mixed media on canvas

400 x 300cm


What inspires you when creating?

It can be an emotion, an image or a word; inspiration can come from anywhere. It inspires me a lot to travel, take pictures, and know new cultures. I think my painting is very experiential and is almost like a diary.

What are you working on recently?

I'm still working on the "tetrix" series, which I think still has a universe to explore. And in parallel, I am working with various characters in different contexts and with everyday scenes telling other types of stories. I also continue to work with movement and dance.

Tell us about your creative process.

The first thing I address about my creative process is the background of the work. I create a very free colour atmosphere and work with pigments, collage and different techniques to create a fracture in the work. From there, I create the composition that I have in sketch or photography. The case of the "tretix" is ​​much more experimental; I create a character and what I do is play. I fit in all the others and conquer all the space.

Are you participating for the first time in the fair? What do you expect from Art Madrid?

About my participation, what I hope is to be able to show my work, which is what I am most passionate about, with great enthusiasm. Also, meet other artists, nourish me with all that creativity and enjoy the fair.

Lara Padilla

Purple Tetris, 2021

Mixed media on canvas

170 x 170cm

Currently, your artistic expression is not limited to a discipline or a medium. How is Sra. D (not Lara Padilla) projected in the next five years?

Sra. D is projected in the next five years as a more experienced and mature artist. What I really value is the work of every day; I think this is a life career. It's what I do, work every day in the studio. From here, I will always find myself, and I will not be the one to set limits for myself.

Your work is mainly figurative and representative. What do you find in figuration that doesn't give you abstraction?

My work is primarily figurative, although I also have some abstract pieces. But I am fascinated by the human body. I love to explore its limits. I create characters with impossible and disproportionate bodies, very expressive, proposing other models of being a man and a woman, and valuing diversity freedom. I also work with the body as supports on occasions, especially in street performance actions with performance and dance, and I use body painting to tell these stories.

Lara Padilla

Rainbow tangle, 2021

Mixed media on canvas

170 x 170cm

Sra.D, A.K.A Lara Padilla, participates in Art Madrid with the gallery from Barcelona 3 Punts Galeria, together with the artists Alejandro Monge, Gerard Mas, Kiko Miyares, Luis Feo, Rodrigo Romero, Santiago Picatoste and Ramon Surinyac.

Francesca Poza. Courtesy of the artist.


Thread is one of the most seemingly fragile materials in existence, yet a combination of threads can be indestructible. It is the triumph of fragility over brute force.

Among its many virtues, thread has its meaning, both real and imagined. It is a word that oozes poetry and makes us think of following a trail, sometimes infinite. Francesca Poza (Mataró, 1965) adds the written word to the many virtues of thread, giving her works a firmness that is always delicate but almost impossible to break. She weaves between letters and memory, pieces that seek to establish what has been lived, to leave a trace in a world that is increasingly ephemeral, more fleeting, more liquid, more elusive. In his work, poetry, literature and time intertwine in a harmonious way, resulting in creations of beautiful originality that are as subtle as they are powerful.

Perhaps Francesca has managed to give an answer to what Carmen Laforet wondered in "Nada", when she said: Who can understand the thousand threads that unite the souls of men and the reach of their words?

The poet reborn. Fabric made with book paper. 2023.

If you had to define yourself as an artist, in one sentence, how would you define yourself?

I could define myself as a multidisciplinary artist who poetizes matter.

The thread even predates the advent of writing, perhaps it's not exact, but I like to think that it began to "write" by spinning... Then came the written word, and in this encounter full of history and ancestors is your work. Spun words, sounds good, doesn't it?

Spun words sound good, the subtlety of the thread that organizes time, the connection, the continuity, the rhythm of literature without reading, because it is a very recurrent phrase in my work, that as the weft is made and unmade, the work and the poetry reappear.

As if they were chains. Fabric made with book paper. 2023.

Why does everyone say that you are unclassifiable? Don't you think we live for labels? It's nice to be difficult to classify. Do you feel like a "freak"?

No, I don't feel like a freak. I like the fact that I am unclassifiable. It's difficult to define me as a sculptor, an engraver, or a weaver. I try to make poetry with the material I have, to make the fragile speak to us, to transport us; the paper as matter and the thread as symbol, to penetrate us.

When one stops in front of your work one has two sensations, well three, one of tranquility, the other two are paradoxical because the first impression is one of fragility, however, after a while you realize that these "threads" are strong because they are united and have made common cause. It's a bit like so many things in life, isn't it?

Yes, that's really what I'm looking for, to express peace and tranquility above all. We are going through very difficult times and I like to express the good that people have inside us.

Testament of Oscar Wilde. Fabric made with book paper. 2023.

Memory is an intimate territory that sometimes betrays us, and forgetting is its main enemy. Is your work against forgetting?

Yes, the art of remembering and forgetting is a recurring theme in my work, because I had and still have the idea that we have to be something, that something has to remain in our memory. So I try to create a poetics that is embodied in different aspects of creativity. You could say that this essence of a series of needs, of leaving a permanent record, is because we don't want to be forgotten, and this is a way I have of expressing myself.

Your work is very poetic... What do you think is impossible to poeticise?

There is nothing impossible, nothing that cannot be poeticised. And yes, my work is poetic, why weave, what for? Poetry and weaving travel in the imagination and come together. Visual art, manual art, in short: poetry.

Music of broken windows.Hahnemühle paper 300gr. 2023.

The thread leaves a trace, the words leave a trace... Your work leaves a trace. Where do you want it to go?

Words leave traces and I want my work to leave traces: the feelings and sensations of the viewer. That the work of art is not just for decoration, but something that when you wake up in the morning, you look at it and you feel different again, that it leaves you with something to feel.

Where do you think your work is going?

My work itself, I don't know where it's going, it leads the way, it guides me day after day. I would like to be able to continue weaving poems that travel in the imagination, to enter and leave through the multiple paths that the material and the feelings take me.