TwentyTwenty Women

In the artist's works, abstraction is the real protagonist as the main form of expression of feelings and emotions. In the words of the artist herself, "abstraction is the only way to discover the true intention of the artist". The colors and the gesture of the stroke in the painting are the authentic communicators of realities. Taking the appropriate distance, her works evoke elements and pictorial, sensations of Monet's nympheas. Scaping from a clearly figurative pictorial world to delve into sensations far removed from the world. The pictures are rebellious and anarchic, direct in a subjective way, and speak out without any trick and masquerade. The evocation of the sensations of a night away from home as in "Neon Nights", where the effervescence of the night and the joy of disinhibition are predicted in the environment.

In the artist's works, abstraction is the real protagonist as the main form of expression of feelings and emotions. In the words of the artist herself, "abstraction is the only way to discover the true intention of the artist". The colors and the gesture of the stroke in the painting are the authentic communicators of realities. Taking the appropriate distance, her works evoke elements and pictorial, sensations of Monet's nympheas. Scaping from a clearly figurative pictorial world to delve into sensations far removed from the world. The pictures are rebellious and anarchic, direct in a subjective way, and speak out without any trick and masquerade. "Air" evokes the feeling of freedom of a picturesque afternoon in the countryside where the landscape is dominated by the colors of wild flowers and the light of noon.

The artist's Malagasy origins are the|central theme of her work, a starting point to delve into the construction of cultural identity as a result of a series of collective and not individual experiences. Through her trips to Madagascar to her parents' home, the artist completely identifies with the environment and the problems of her fellow citizens. The search for answer to identity is joined by the desire to show a Madagascar full of colors, rich in natural resources and also in poverty. Away from the stereotypes of a dangerous country characterized in the French press, Celia shows the humanity of its people in everyday scenes.The impact of globalization makes established dogmas questioned, as well as old beliefs and traditions.

"Le sourire aux yeux" presents a clear contrast with the previous one, where a young woman smiles. The angle of this uncommon portrait is surprising where it is the smile that is drawn in the gaze that is guessed in the part that has not been portrayed. It is the hope of the liberation of the future of women in Madagascar with modern times and new customs. Again, as a parallel and signature of the artist, we observe the enhancement of the portrayed figure in contrast to a flat background in color and lacking in motif. Celia thus gives us to understand that the theme is not the main thing in her work, but the emotion on the faces of her fellow citizens, in the warmth of the moment of the portrait.

The artist's Malagasy origins are the|central theme of her work, a starting point to delve into the construction of cultural identity as a result of a series of collective and not individual experiences. Through her trips to Madagascar to her parents' home, the artist completely identifies with the environment and the problems of her fellow citizens. The search for answer to identity is joined by the desire to show a Madagascar full of colors, rich in natural resources and also in poverty. Away from the stereotypes of a dangerous country characterized in the French press, Celia shows the humanity of its people in everyday scenes. The impact of globalization makes established dogmas questioned, as well as old beliefs and traditions.

‘Peau d’or’ is portrait pf a French Malagasy singer with whom the artist collaborated on filming the entire paintings process live for a song of the same name – “Peau d’or”. The project is in direct response to the movement Black Lives Matter. As mixed raced women, both artists have been on torn between being ‘white’ or ‘black’. Where do they stand? As the singer writes a song about skin colour, Celia paints her portrait beautifully rendering details of her facial expression and skin colour.

In her work, the artist takes us to a dystopian imaginary full of evaporated sensations and diluted colors that make up a dream like perspective w here the protagonists of the works mix with the background. The ambiguity of the figures is framed by the colors of the landscape w here references to specific places are barely existent.

Only some objects are objectively represented as collage cutouts that are interspersed with sensations left by memories. In her paintings, the artist manages an entire imaginary around a concept and what it represents in different situations. In "Bind" we observe traces of what a chair resembles with what we mentally associate with a confinem ent and lack of freedom. However, the constant juxtaposition of opposites is what makes us reflect beyond the pure concept adding shapes that are reminiscent of mountainous landscapes or flowers wild.

The context of human identity is what defends the work of Victoria. Being transgender, memories and their transition is the main source of inspiration for the artist’s work. It analyzes contemporary art trends and is imbued with the essence of great artists such as Pablo Picasso or Frida Kahlo. In "Some things you shouldn't get too good at or Where the sky and the big city meet (after Fragonard)" the artist takes as a reference the painting "Young girl Reading" by Jean Honoré Fragonard from where she analyzes the female representation in classic nineteenth-century portraits as a figure full of virtue, femininity and devoted to the home

The context of human identity is what defends the work of Victoria. Being transgender, memories and their transition is the main source of inspiration for the artist’s work. It analyzes contemporary art trends and is imbued with the essence of great artists such as Pablo Picasso or Frida Kahlo. The analysis of the reflection of oneself on society and how it perceives the individual is the leitmotiv in the artist's theme. In "I wish I was more like you (after Eliasson)" and "It's not essential that I feel you (after Eliasson)", the artist establishes an interesting dialogue between two pairs of works starting from an Olafur Eliasson's installation where a series of mirrors project realities that seem to be contained one within the other as if it was a Russian doll. The mirror is the reflection of our own identity that returns what we think we are to ourselves and defines us based on the world around us. By reflecting mirrors on the clouds and grass, Victoria analyzes the idealized image and the real one between our unconscious and the real representation of what it really is to be as a living entity in contemporary society.

In her works "Female identity", the artist draws parallels between the Rococo works of the French Baroque and the issues that are addressed today about sexuality and female identity. Starting from the collective imagination of the history of painting: fetishisms and fantasies, Xu Yang explores different perspectives on gender. Her reinterpretation through ornate frames counteracts the simplicity of the gesture of her strokes that draw a smoky shadow on the portrait. Like a veil that covers what is not guessed or does not want to be elucidated, the brush strokes only provide a vague illusion of what may or may not be revealed in parallelism with society's the taboos on sexuality and the female body throughout history

When observing M argaux's work there are two elements that are deeply linked: human psychology, as a result of the artist's fascination with the work of psychologist Elizabeth Loftus on human cognition, and on the other hand, the pathos or profound expression of the feelings we observe in Italian Renaissance artists. In "One and also two… more" it is remarkable the impression of the essence of what a memory is: a dream y and vague sensation w here details are lost in the consciousness of the intellect. Memories as well as dreams leave us inaccurate perceptions about a reality that we cannot assure; how many people were in a certain room? what were their reactions? ... All these perceptions are reflected in Margaux's work through blurred colors and ephemeral shadows that are lost in oblivion, leaving as the only testimony, the emotion or feeling that shook the soul. On the other hand, the work "The Pieta and the Fantastic" delves more into sadness and the contemporary adaptation of classic works of religious iconography. Reflecting feelings without drawing defined lines on the faces of the characters but that the viewer is able to capture.

In "One and also two… more" it is remarkable the impression of the essence of what a memory is: a dream y and vague sensation w here details are lost in the consciousness of the intellect. Memories as well as dreams leave us inaccurate perceptions about a reality that we cannot assure; how many people were in a certain room? what were their reactions? ... All these perceptions are reflected in Margaux's work through blurred colors and ephemeral shadows that are lost in oblivion, leaving as the only testimony, the emotion or feeling that shook the soul. On the other hand, the work "The Pieta and the Fantastic" delves more into sadness and the contemporary adaptation of classic works of religious iconography. Reflecting feelings without drawing defined lines on the faces of the characters but that the viewer is able to capture.