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Emma Fernández Granada
Biography of the artist

Emma Fernández (Gijón 1961). Settled down in Madrid since 1974. Bachelor of Fine Arts, specialised in Painting, by Universidad Complutense de Madrid. Drawer and graphic designer since 1987, Fernández Granada begins her peculiar artistic career by collaborating with different media and institutions among which we could mention “El País”, “El Mundo”, “Cambio16”, FUNCAS (Fundación Cajas de Ahorro), FUNDESCO (Fundación Arte y Tecnología, Telefónica), Banco Santander Central hispano,TELOS (Telefónica)... Exhibitions for institutions such as “Fundación Maphre”, “Telefónica”, “Fundación Kutxa”, “Obra Social y Cultural de Cajastur”, “Casa de Colón” Huelva, “Fundación Vela Zanetti / Auditorio de León” or “Fundación Museo Evaristo Valle” give credit to her artistic course.

Emma Fernández analyses in a creative manner the possibilities which technology incorporates into present pictorial scene, checking up on how current artistic production models contribute to create new resources. As a matter of fact, this dichotomy between art and technology appears as a constant in her work since the exhibit “De la materia a la imagen”, launched in 2004 in Leon’s Auditorium and promoted by Vela Zanetti Foundation. In the two subsequent exhibition projects (“Double figures” / Espacio Líquido Gallery and Emma Fernández in the Foundation Museum Evaristo Valle / Gijón 2007), the investigation about the techno-expressive processes of the contemporary graphic scene directs and gives form to her plastic/visual language, in which two clear narrative lines converge.

On the one hand, aluminum and big format canvases with partial superpositions of direct prints and dissociated colours which draw stages/landscapes/architectures of the space. “Curiosity, investigation, lines and shapes which acquire the characteristics of the hidden map. That strange cartography which come to light with no other destination than the stroke showed at any time...” (Fernando Rodríguez Lafuente. La Línea de lo Real. Emma Fernández in Vela Zanetti Foundation, Leon’s Auditorium). On the other hand, figures or iconographic shapes, which take up again the contents and the techniques of her last exhibitions: the woman as an aesthetic argument framed in the picture and enclosed by her own formal demands, captured in an internalized time/space and dynamized by means of detail, in an emphasized game of rythmic harmonies. In this second series, she checks up on the possibilities of the technology applied to the image from the pictorial point of view, communicating to the spectator a certain kind of visual complexity and richness, which the informatic tool itself cannot provide. Both the support and the tool acquire pictorial quality this way. Her use, in this series, of the earhty chromatic range, of the bright/dark colour reminds of Spanish painting Baroque tradition.

Two narratives which share the same introspective language –reflex and vehicle of their ideas- in which curves and straight lines, iconographic and abstract contents, geometry and gesture embrace each other creating a whole living reality of opposition and movement, which is projected by means of aesthetic sensitivity contents.

Pieces are part in an exhibition project in which, from the artist’s narrative diversity, the particular way of observing and interpreting the feminin “object / imaginary entity” as a discur- sive strategy, expressed as an aesthetic form. She alludes to the categories of the feminin which act as opposite beings, which fluctuate between contrary meanings such as “ductilness”, innocence, measure, dependence, arro- gance, seduction, excess, self-sufficiency.


The artists suggests to use as adjectives this conditions (ascetic, prudish, meticulous, domestic, nun... / intense, dangerous, worrying, unsubmissive, palatine, harlot...), “paint- ing” creatuers both with mysterious or female peacock dresses. Carmine, cadmium red, gold yellow ochre, volcanic earth, brown... They are colours frequently used to intentional- ly recreate their “atrezzo”, in a recreational childlike urge to dress and undress. Some kind of formal resource to symbolically build identities, through a cultural archetypes’ selection process.

The work is observed from the aesthetic seduction which the image itself produces. The figures are shown to the spectator under certain joy and satisfaction appearance. The woman as a sign –fetish- or conceptual representation pontecially expressive, re-created from a code series which alludes to the decorative imaginary, is captured in a baroque time- less atmosphere.The work illustrates a reflection about the feminin identity patterns built from the social col- lective subconscious: the woman as an aesthetic product without expiration date, as a collector’s object –fetishist item traslated to the canvas-.

There is no intention to criticize that, on the contraty she tries to contemplate the fact itself. She doesn’t tries either to change the theorical approaches into aesthetic ones. She rather expects to lead the spectator into the aesthetic pleasure.

It’s been an investigation about the techno-expressive processes involved in the contemporary graphic design.

Emma Fernández Estudio & Caeaclaveles Hotel

La Pereda, S/N

33509 La Pereda, Llanes, Spain