Angela de la Cruz

Fotografía: Sue Ponce.

Since the start of her career, Ángela de la Cruz has reflected on the language of painting, which she has expanded over time to analyse more artistic issues related to the sculptural object and language. In fact, after her 1996 work Homeless, when the artist broke one of her paintings, she began to manipulate the supports, the stretcher and the frame, turning the canvas into something more organic where volumetrics took on a new importance in her works.

Many of Ángela de la Cruz’s paintings are presented as extended bodies with clear physicality as she twists the canvases, scratches the fabric or manipulates the supports. This makes each of her works a container of stories where paint takes on a physical and spatial presence. In Fondos (Light Yellow), a monochromatic yellow painting, the canvas is subtly scratched on the sides. With this gesture, the artist seems to strip it of the supposed grandiosity with which canonical history has imbued painting. These scratches on the liner question the work’s formal rigidity and bring a component of movement to the surface.