She was born in Gijón and grew up in Colombia between the ages of nine and nineteen. Nuria Formenti is one of those artists whose parents, although not dedicated to the arts, have had a more than close relationship with them. Since she was very little, she has lived surrounded by great artists and writers who, as if they were a magnet, dragged the artist towards the search for beauty and life through plastic art. These gave him the necessary tools to be able to handle himself in a magical world, in his world. From a very young age, she gave free rein to her hand, taking the pen as support to capture her theoretical outbursts on a piece of paper that, far from her awareness, she filled and filled with content that she only read when she finished and that she did not recognize as hers but as that of a demiurge.

As a consequence of a compromised context, Nuria completed higher studies in Public Relations and protocol outside of Colombia, but her creative need prevented her from continuing her professional career betting on what she really felt and feels and, returning to what she considers her home once and for all. again. In 1999 and at the hands of her “master of ceremonies”, Antonio Obregón, Nuria buys a canvas and oil paints and begins to paint looking for the aesthetic harmony that will pursue her throughout her art. Eduardo Úrculo, Frida Kahlo, Gabriel García Márquez and Enrique Grau, are present in each of the artist's paintings in all their languages. It was precisely in that year that the artist began her artistic career without any breaks. Fuerteventura, Cartagena de Indias, Barranquilla, Oviedo, Gijón or Geneva will be obligatory destinations where the artist exhibits her work. Loaded with meaning, in Formentí's work painting and writing merge to express his passions and emotions until he frees his soul. What she loves, thinks, says or dreams are present in each of her canvases, showing it as a kind of ode to the beauty and nature that surrounds her or that she imagines. Although both she and her works convey sensitivity and feeling in the eyes of those who look at them, they are also loaded with implicit critical and social content that vindicates their experiences. And, how could it be otherwise, his work could be described as a personal magical realism where cinematographic framing, bright colours, contrasts of light and shadows and almost tangible qualities in his forms stand out.

Alberto Cortez wanted Nuria's brushes to be the wings that would allow her to fly, and this has been the case in each of her exhibitions. In this way, and without stopping to search, the artist flew across the Caribbean, visited literary scenes and settings, claimed the strength of women, lit up grey skies and finally released her chains. In a sincere tribute to paper, inks, sex and women, he overcame the taboo and, without fear, He went on his way and began to enjoy life.