By July 2003, Ana Miralles presented in this very hall an exhibition entitled "TORO" (BULL). Even though her oils were based in the bullfighting theme, the artist preferred to base her work on the plastic values rather than in the "fiesta" itself. Her paintings were essentially - she explained - a metaphor on how we, as human beings should act when, facing extreme situations we feel that we must maintain our own identity. Today the author offers us a new exhibition and has honored me letting me accompany her in the catalogue. Nothing could please me more and I am doubly satisfied because I can see I was right in my previous judgment and, more important still, I can meet again an artist who can grasp the most intense intimate situations, and who tells us that we can overcome them with inner strength.
Today, Ana Miralles paintings lead us to the woods and forests of the human unconscious, were the trees of feelings and ideas link their branches in such a manner that one can hardly see the sky or perceive the light that we want to reach. Because, on top of that there is in our inner world a certain fright to self-examination, as if the introspection could lead us to the certainty that we are too weak as individuals in front of the strength of a society that wants to dominate us and, to a certain extent, enslaves us. However, this is an error we can overcome with Ana Miralles' paintings, as in her obscure forests, where the foliage seems to form bars to prevent the feelings pass through, the bars open as we open our eyes, our ideas, and let us proceed without trouble towards the performance of what we want, which, essentially is to impregnate us with the freedom light at the end of the road.
To a great extent, the painter aims at self-examination and at explaining oneself to the community. I do not have any trust for the objectivity of the artist who does not take himself as a model, as this model is the one the artist knows best. The artist, then, must examine his own self disregarding exclusion temptations. And since any human creative work intended to reach the other emerges from thought, I see in Ana Miralles' the ability of interpreting with positive contents and plasticity the difficulties that surround us all. And more important still in the field of art: to be able to act with the sense of rhythm and refined simplicity.
Today, Ana Miralles paintings lead us to the woods and forests of the human unconscious, were the trees of feelings and ideas link their branches in such a manner that one can hardly see the sky or perceive the light that we want to reach. Because, on top of that there is in our inner world a certain fright to self-examination, as if the introspection could lead us to the certainty that we are too weak as individuals in front of the strength of a society that wants to dominate us and, to a certain extent, enslaves us. However, this is an error we can overcome with Ana Miralles' paintings, as in her obscure forests, where the foliage seems to form bars to prevent the feelings pass through, the bars open as we open our eyes, our ideas, and let us proceed without trouble towards the performance of what we want, which, essentially is to impregnate us with the freedom light at the end of the road.
To a great extent, the painter aims at self-examination and at explaining oneself to the community. I do not have any trust for the objectivity of the artist who does not take himself as a model, as this model is the one the artist knows best. The artist, then, must examine his own self disregarding exclusion temptations. And since any human creative work intended to reach the other emerges from thought, I see in Ana Miralles' the ability of interpreting with positive contents and plasticity the difficulties that surround us all. And more important still in the field of art: to be able to act with the sense of rhythm and refined simplicity.
