“3 Questions for…” showcases and promotes the work of upcoming artists in the early stages of their careers. This time I would like to share with you the meditative works of Alicia Gimeno.
Alicia Gimeno (b. 1989) is a contemporary Spanish artist from Barcelona whose minimalist compositions explore movement, balance and emptiness. A central element in her work is the expressive and flowing brushstroke, which is reminiscent of botanical or root-like structures. The deliberately reduced color palette of primarily black and white draws the viewer’s attention to the subtle details of the contemplative compositions: the dynamics of the lines and the tactile play with the surface. Concepts such as wabi sabi – the acceptance of imperfections – and ma (間) – the negative space that only gains meaning through the context of its surroundings – play an important role in her visual language.
The artist draws inspiration from two important sources: oriental calligraphy and nature. From an early age, Gimeno was fascinated by the art of writing and its ability to convey universal expression beyond linguistic boundaries. During her introspective and almost meditative creative process, the artist experiments with textile layers and handmade paper, to create various expressive possibilities.
Alicia Gimeno strives to capture emotions in the simplicity of a single stroke, preserving the connection to the origin in her works. By combining traditional influences with modern abstraction, she creates a unique, poetic and timeless visual language. I had the pleasure of asking the artist three questions about her work and artistic approach:
What inspired you to become an artist, and how has your artistic expression evolved since then?
It’s interesting how I began my artistic career. I studied graphic design, but I always had an interest in contemporary art. During my time living in Mexico, I co-directed a gallery, and here in Barcelona, I worked for another gallery and a curator. But ultimately, I worked as a designer for many years—it’s a great profession, but something was missing.
It was when I became pregnant with my daughter that I felt a deep need to leave my children a life filled with inspiration, a life fully devoted to what I was meant to do. For some reason, that being inside me pushed me to leave everything behind and dedicate myself entirely to producing art. Her name is Galatea, inspired by the legend of Galatea and Pygmalion. It was a risky decision, but the best one I could have made—I feel that I am exactly where I am supposed to be.
Since then, my work has evolved and will continue to do so. I don’t have every step planned out, but I trust in the positive evolution of my art.
How would you describe your work to someone who has never seen it?
My pieces feature organic shapes in black tones—the gesture, the abstract composition, define a harmonious and fluid painting. There is an emotional sensation created through the interplay of curves and straight lines. The forms, similar to roots, create contrasts against light backgrounds in shades of white and brown, some more textured than others.
What are you currently working on, and what are your plans for the future? Is there any theme you would like to explore more deeply?
I am always experimenting with new materials, exploring ways to play with form and emptiness through different mediums. Lately, however, my focus has been on moving away from the traditional canvas frame—I am diving enthusiastically into sculpture while continuing my Rama series, which works with wood to create voids in a plane, almost like a bas-relief.
As for projects, there are exciting things ahead. I have been working on a space in Tokyo, which I am especially thrilled about, and I hope to share more details soon… I will also be participating in exhibitions and art fairs (the next one in Vienna).
However, the projects that excite me the most are special commissions—like the staircase I recently intervened in at the Círculo Ecuestre de Barcelona or the rugs I worked on in London in collaboration with Knotsrugs.”
I am fascinated by the oriental concept of transmitting the individual’s Qi through gesture, through the brush.
