Alba Cabrera Gallery presents in Art Madrid the most intimate work of three women artists: Carmen Michavila, Isabel Gutiérrez and María Angélica Viso. Three different artistic personalities that connect with the same mystical sensibility in their artworks.

Carmen Michavila (Valencia, 1959) reflects about invisibility in her works, evoking a hidden reality. Michavila, starting from a magical realism, invites us to an inner and intimate journey, and as if it were a children's story, leads us to the purest essence. Between delicate and meticulous lines, the artist leaves empty spaces for the spectator, letting his imagination fly, to complete them.

It is inevitable not to distinguish in the art work of the Valencian artist, christian connotations. The verticality of her imaginary figures and her neutral-coloured backgrounds evoke images of earthly paradise and hell. An example of this is the work belonging to the series "Job 38:11: You will go this far, but no further. This is where the pride of your waves will stop".

Carmen Michavila

Sin Título, 2019

Acrylic on canvas

116 x 89cm

In the artwork of Isabel Gutiérrez (Madrid, 1955), the configuration of space plays a fundamental role. With a slight tendency towards the cubist work of Paul Klee and Sonia Delaunay, the paintings of Isabel Gutiérrez are developed within the figurative style, being the colour and the light essential elements in the composition. Nature is represented by the artist in its multiple manifestations, generating a chromatic and formal game defined by the different effects of light, that are multiplied every time, like nature itself, in the flora and fauna of her landscapes and gardens.

”In my paintings I have investigated relationships between colours, compositional structures and different treatments in the brushstroke, with the objective of signifying the evolution of my thoughts about the shave I perceive.”

In art works such as “Primeras hojas” or “Baile de hojas I”, both made in 2019, the great chromatic intensity and very well defined borders build the figurative motifs. The organic elements of its leaves, plants or animals are reaffirmed from a plastic point of view, much more expressive and textured than the geometric surfaces of flat colours that complement them.

Isabel Gutiérrez

Primeras hojas, 2019

Oil on board

40 x 40cm

Isabel Gutiérrez

Baile de hojas I, 2019

Oil on board

40 x 40cm

The geometrical subtle sculptures by the artist from Caracas María Angélica Viso, complete the exhibition proposal of the Alba Cabrera Gallery for Art Madrid. María Angélica Viso (Venezuela, 1971), has among her great references the artists Cruz Díez and Jesús Rafael Soto.

Viso’s artworks are generally attached to the wall. These volatile sculptures, with polyvalent and sophistic shapes, are capable of mutate into other figures. In all their pieces, as the curator Susana Benko points out, "the common element is the image of lightness.

Maria Angélica Viso Penso

Geometrías orgánicas, 2019

Aluminio y pintura anodizada

80 x 80cm

”I find a similarity between paper and metal and so I face the latter, as if it were a parchment, discovering its subtle and soft side, a facet that sometimes seems to hide it in its rigidity. Rigidity that I take advantage of to perforate it with inserts, piercing it, crossing it and then achieving illusions of fabric in movement"

Leaving behind his works of straight lines and statically geometric planes which he makes lose their rigidity, turning them into ethereal only by separating them from the surface and curving them with subtle delicacy, Viso evolves into a new series which he calls "Organic Geometries ". A series he has been working on since 2018 until today.


The difficult task of defining Eduardo Balanza's work becomes easier when you share a live experience with him. We enjoyed a visit to his studio on Saturday, February 22, within the “Art Madrid-Proyector'20” action program. It was the perfect opportunity to getting to know his work and personality, and to understand the clear connections that exist between his various works. Between eclectic, versatile, technological, experimental, audiovisual, editorial... and many other qualifications applicable to the work of this author, the encounter with Eduardo helped us discover a generous artist, concerned above all with socio-political and environmental issues, who apply technology in a very rational way to his projects, and who is not satisfied with a simple reading of his pieces.

Photo by Txema Alcega

Eduardo Balanza (Murcia, 1971) graduated in Audiovisual Media, studied documentary film and screenplay at the International School of Film and Television in Havana, as well as at the School of Visual Arts in New York. He needs to travel, and for several years he was roaming between Berlin and Spain while working in theatre companies as a set designer. As a plastic artist, he has developed a multidisciplinary work taking sound and music as a starting point on which to research and build pieces, installations and performances. However, even these attempts to explain his career fall short, since, although the influence of video is evident in many of his works, in others the construction of artefacts or the emergence of conceptual discourse through periodic publications are the essence of the piece. As he himself admits: "It is true that I studied photography, screen printing, 3D, I worked in cinema, in fashion as a photographer, advertising and campaigns, theatre... The multidisciplinary involves attitude and creative concern." Indeed, Eduardo is attitude and concern.

Photo by Melisa Medina

What is clear is that Eduardo Balanza shows great humility and transparency in all his work. The transformation of each life experience into learning reveals the complexity of our world, the diversity that inhabits it, the different ways of understanding that exist and the need we have to adapt ourselves, beyond pure survival. In a recent interview, Eduardo explained: “Living has also become a bit of resistance. Living requires adaptation, as in an ice age." And part of that adaptation consists of admitting mistakes, knowing how to rectify because nothing is linear and today's society imposes on us a dictatorial obligation of permanent success totally fake without margin for error. On this, the artist comments:

Sometimes failure is pleasant. You have to lose battles, be thrown into the mud and have to get up. There is no need to be afraid to start from scratch; from failure, you learn a lot. We get frustrated very quickly, we have no stamina.

Photo by Txema Alcega

This humanistic approach to his own life trajectory has made identity, music and war his three main axes of work. Music as a factor of union, and war, of separation, and underlying these opposing forces, which sometimes collide and sometimes point in the same direction, is the collective identity. The artistic exploration of these intangible realities, but drivers of many current social movements, transforms into an infinity of projects that this author develops from his personal experience, wanting to transfer to his works all the rawness, aridity and harmony that the real world offers us. Eduardo explains that:

Where culture does not arrive, barbarism arrives. ... There is a clear absence of many values. Music, identity, collective identity, group movements are trending and the most interesting thing right now is collage. War, music and identity are my subjects, in the end, everyone talks about the same thing.

During the visit to his studio in Madrid, Eduardo presented us with the artwork “B71”, an electroacoustic instrument inspired by the baroque organs that combines sound and technology with an impressive result. The B71 organ is an instrument that works activated by vibrating loudspeakers on plates capable of connecting to meteorological data websites, according to the coordinates entered in the system to generate surround music based on loops. B71 works in both manual and automatic modes, generating its own sounds by itself. Visitors were able to fully understand its operation and test the organ while Eduardo explained all the technical implications of this installation work.

Frame from "La fragilidad de habitar", 2019, Eduardo Balanza

In addition to this and to know some of his editorial pieces in the FEU project: United Electronic Front, we were also able to enjoy his work on video. In the garage of his studio, which acts as a projection room, we watched his latest proposal: “La fragilidad de habitar”, a documentary video art work that shows the situation of extreme need in the shanty towns of temporary workers in Níjar (Almería). This piece, made in 2019, created mostly from zenith planes, brings to light a reality often ignored and shows ways of life-based on absolute subsistence. Today the work is on display at the Cepaim Foundation in Madrid.

And in the meantime, Eduardo continues working. He is currently developing some video research on hydroelectric complexes in Norway, the "Landscape Transformation" and the generation of sounds in these natural spaces, supported by the Skien Komune from Telemark.

From here we thank him for opening the door of his studio and sharing an excellent Saturday morning with us as we learned a little more about his work.