Decorative Flowers IV

This work is part of our series dedicated to flowers, a collection that seeks to capture the essence of nature from a unique perspective. In this piece, an array of pink flowers stands out softly against a blue background, creating a serene and balanced atmosphere.

The process of creation began with an in-depth study of pink flowers, observing their delicacy and the variety of tones that this colour offers. The artist was drawn to the softness of pink, which symbolises tenderness, love and hope. In choosing these flowers, she sought to convey the calm and peace that this colour can inspire, while exploring how it interacts with the blue background, which in turn evokes serenity and reflection.

The work was created using a mixed technique combining oil and watercolour, which allows for a smooth and harmonious transition between the shades of pink and blue. The blue background, chosen for its ability to highlight the flowers without detracting from their prominence, creates a contrast that enhances the subtle beauty of each petal. The texture of the brushstrokes also plays an important role, adding a touch of depth and movement to the piece, inviting the viewer to immerse themselves in the calm that emanates from this combination of colours.

The contrast between the pink flowers and the blue background is not only visual, but also emotional. While the flowers convey a sense of lightness and sweetness, the blue of the background invites reflection and introspection, creating a space in which both tranquillity and the energy contained in nature meet.

In observing this work, the viewer is invited to explore the connection between the colours, to appreciate the softness of the flowers and to reflect on the harmony found in the simplicity of nature. Each pink flower is a small expression of beauty, a pause amidst the dynamism of the world.

This painting is a tribute to serenity and elegance, an invitation to stop and admire the small wonders that surround us.

Decorative Flowers III

This work is part of our series dedicated to flowers, a collection that seeks to explore and capture the essence of nature through art. In this particular piece, a bouquet of four red flowers becomes the protagonist, highlighting the intensity and passion that this colour evokes.

The process of creation began with an in-depth observation of the red flowers in their natural environment. The artist was inspired by the vibrant energy of these tones, which symbolise love, strength and vitality. The choice of red flowers is not only due to their external beauty, but also to the feelings and emotions they arouse: red as a colour that burns, that awakens, that makes itself felt.

The painting was made with a mixed technique combining oil and watercolour details. This fusion of materials allows us to capture the richness of the colour red in its various shades, creating a contrast between the intensity of the flowers and the softness of their contours. Each brushstroke was designed to highlight the structure and delicate curves of the petals, seeking to convey the energy of the flower, as well as the serenity it can bring to the viewer.

The inspiration behind the work also comes from the contrast that red flowers can offer in nature. They are flowers that often attract attention with their bright, vibrant colour, but at the same time hide an inner fragility. Thus, in this painting, each red flower reflects both the strength and vulnerability that coexist in the same being.

By observing this piece, the viewer is invited to connect with the dynamism and energy of the colour red, to reflect on its symbolic power and to admire the beauty of what may often seem simple, but is full of nuances and deep meanings.

This bouquet of red flowers is a tribute to life, passion and the constant transformation that defines nature.

Decorative Flowers II

The process of creating this piece began with a visual exploration of natural flowers, a detailed study of their shapes, textures and colours. The artist immersed herself in a world of silent gardens, where flowers were the centre of her attention. The choice of blue flowers was not accidental: this colour symbolises tranquillity, serenity and reflection. Throughout the work, each brushstroke seeks to convey not only the external beauty of the flowers, but also the emotion they arouse in those who observe them.

The work was created through a careful mixed technique, combining the use of oil with details in watercolour, which allows a softness in the transition of tones and a richness in the nuances. This mixture of media seeks to represent the duality of the ephemeral and the eternal that resides in each petal: a fleeting moment that is captured in the painting.

The work was created through a careful mixed technique, combining the use of oil with details in watercolour, which allows for a softness in the transition of tones and a richness of nuances. This mixture of media seeks to represent the duality of the ephemeral and the eternal that resides in each petal: a fleeting moment that is captured in the painting.

Throughout the process, the artist let herself be carried away by the inspiration of the moment, without losing the connection with nature. The bouquet of blue flowers is therefore a reflection of both precise observation and a subjective interpretation of life itself. Through the brushstrokes, a dialogue is sought between the viewer and the work, inviting one to immerse oneself in the stillness of the flowers and to reflect on the transience of time.

This piece is a tribute to the fragility and beauty found in nature. It is an invitation to pause, to observe carefully and, perhaps, to discover the poetry hidden in what we often consider everyday.

Decorative Flowers I

The first of this series of four small paintings presents a delicate bouquet of violet and purple flowers, captured with the precision of the pen and the ethereal softness of watercolour. There is no explicit background, no vase or landscape: just the flowers, floating on the paper, as if they have just been remembered rather than gathered.

The pen defines the contours lightly, almost trembling, leaving space for the watercolour to unfold freely. The purple tones blend together in subtle shades, from a pale lavender to a deep, almost nocturnal violet. A few spots of colour escape the lines, overflowing, as if the flowers could not contain their own life.

This small painting does not seek botanical realism, but atmosphere. It is a flower that speaks more of sensation than of species, more of memory than of form. There is something intimate, contained in it, like a thought that blooms in silence.

It is the first of four pieces which, together, make up a fragmented garden: not a perfect garden, but one made of instants, of fleeting glances, of beauty found almost by chance.

People around the world II

The second portrait in this series presents the figure of a man wrapped in a light robe and a carefully knotted turban, revealing an identity that evokes the Arab world, at once ancestral and contemporary. His face, serene and silent, seems to look beyond the viewer, as if in dialogue with something we do not see.

The pen firmly traces the lines of expression, the contours of the face, the texture of the canvas. There is no artifice, only the truth contained in each fold, in the way the light rests on the forehead or slides along the edge of the turban. The colours, subtle and measured, accompany the depth of the gesture: ochres, soft earths, touches of bluish shade that envelop the figure in a warm, almost sacred atmosphere.

This portrait, like the other two in the series, does not seek a literal or ethnographic representation. Its strength lies in the gaze, in the restrained attitude, in what is conveyed without words. It is a face that speaks of tradition, of belonging, but also of shared humanity: something that transcends borders and eras.

In the whole, this second painting brings balance and contrast. In contrast to the rebellious hair of the first portrait, here there is withdrawal. Against the questioning gesture of another face, here there is pause. Three faces, three ways of inhabiting the world.

Afternoon in Foz

This coastal landscape, executed in watercolour and pen, captures a calm, grey scene on the beach at Foz, Galicia. It is a dull afternoon, one of those that seem to be on the verge of rain, with the sky covered by heavy clouds and the sea very low, exposing the wet sand, dotted with puddles and reflections.

The buildings of the promenade line the background, solid and silent, like motionless witnesses to the passage of time. The watercolour, with its desaturated tones and soft washes, gives shape to the overcast sky and the receding sea. The pen, with its firmer line, defines the contours of the buildings, the lines of the horizon, and some details barely suggested on the coast.

The scene breathes humidity, silence, and a discreet beauty. There is no drama in this dark afternoon, but rather a dense, almost introspective calm, as if the beach were waiting for something: the return of the tide, the light of a new day, or simply the passing of whoever looks at it with attention.

This drawing is a tribute to the Atlantic north, to its restrained light, to the serene melancholy of its coastal villages. A landscape that does not need the sun to move, because in the grey stillness also dwells beauty.

Man in a boat

In this watercolour painting, the world stops for a few moments just before sunset. A calm lake reflects the deep blue and golden tones of the sky, while in the background, the mountains rise in soft silhouettes, almost blurred by the light. In the centre of the scene, a solitary figure sails slowly in a boat: a man in a conical cap, a symbol of the rural regions of Asia, who seems to blend into the landscape.

The watercolour glides like water itself: the yellows fade into the blues with a delicacy that only paper can contain. The transparencies do not seek to dominate, but to suggest: the reflection of the sky in the lake, the mist enveloping the mountains, the serene gesture of the man rowing, everything is constructed with an economy of form, but a wealth of sensations.

This landscape does not tell a specific story, but evokes many: the connection between man and nature, the stillness that can only be found far from noise, the slow passage of time as the sun touches the horizon. It is an intimate, contemplative scene, where each brushstroke is a sigh and each colour a suspended emotion.

A portrait of silence. Of the light that does not shout, but transforms.

Memories of an afternoon

This watercolour painting portrays a European landscape where the river becomes the central thread of the scene, meandering calmly between vegetation-covered banks, small stone houses, and open skies that seem to breathe. The boats float still, moored or drifting, as if resting after a long journey. Some are empty, others barely outline the silhouette of an oarsman, hinting at a story escaping over the horizon.

The watercolour technique allows the water to paint the water: superimposed transparencies, soft reflections, blurred skies in shades of blue, grey and gold. The landscape is not contained, but suggested; there is more emotion than precision. The humidity of the river, the silence of the air, the patina of time on the facades… everything can be guessed in each brushstroke.

Inspired by river scenes from central and northern Europe, this painting seeks to capture not just a place, but a feeling: the melancholic stillness of riverside villages, where life moves to the slow rhythm of the water. In the background, perhaps there is a church or a mill, barely hinted at, as if emerging from an ancient memory.

It is a painting that does not shout, but whispers. A tribute to the quiet beauty of the everyday and the inevitable flow of time.

Memories of Japan

This landscape, painted in colour watercolour, is inspired by the traditional aesthetics of China and Japan, where nature is not only scenery, but spirit. The scene shows a tranquil river flowing through the paper as if it were flowing in a dream. An arched bridge connects the two banks, and on it walk small figures in traditional dress: kimonos or hanfu, serene faces, slow steps. In the background, almost as if emerging from the mist, the curved roof of a temple is insinuated, silently guarding the history of the place.

The watercolour technique has been worked with softness and breath. The brushstrokes are loose but meditated, evoking oriental landscape painting (shanshui) where the important thing is not fidelity to detail, but the balance between full and empty, between what is shown and what is suggested. The water, the silent protagonist, reflects the sky with barely defined spots, while the colours – earthy, soft greens, diluted blues – accompany the calm of the whole.

This drawing is not just an image, but an invitation to meditation. Like the old painted scrolls that were unrolled little by little, this landscape proposes a slow journey, where each element has its place, its weight, its pause.

It is a tribute to the ephemeral, to harmony, and to the beauty that dwells in the simple.

The eye of the horse

This portrait focuses on the head of a horse, captured in watercolour with a gaze that balances strength with stillness. The choice of watercolour is not accidental: its fluidity allows us to pay homage to the nobility of the animal without enclosing it in rigid lines. The water carries the pigment as the wind caresses the mane – freely, with rhythm, with respect.

Each stroke seeks to suggest rather than define. The soft shadows on the muzzle, the sparkle in the eye, the tufts of hair that blend into the background… everything is worked from transparency, allowing the white of the paper to breathe and give life. It is not a strictly realistic representation, but a presence: that instant when the horse turns its head slightly, hears something in the distance, and everything stops.

This drawing is an invitation to see beyond the form: to connect with the quiet dignity of the animal, with its ancestral memory, its contained power. Because in the silence of its gaze there is something that reminds us of who we were when we still lived close to the land and the animals.