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 III

The third portrait in the series shows a woman with a deeply wrinkled face, with the serene dignity of someone who has lived intensely. She wears a voluminous turban and a brightly coloured robe that spills out in rich, expressive folds. A necklace of irregular beads rests on his chest, as if it were just another part of his story. Her appearance suggests South or East Asian roots: India, Thailand, perhaps Mongolia… it doesn’t matter where exactly, but what her face conveys.

The pen stroke, firm and uncorrected, finds in her wrinkles a map of experiences. Each line on the skin is a furrow of time, and each shadow, a story. The colour, vibrant but restrained, gives life to the fabrics, to the brightness of the necklace, to the contrast between the vitality of the outfit and the silent gravity of her expression.

She does not smile or pose. She simply is. She looks straight ahead, with an intensity that does not seek to impose itself, but says it all. Her presence closes the series with a quiet strength, like a root that supports the whole.

Together with the other two portraits – the man with the grey hair and the man in the Arab turban – this figure completes the balance of the series: three faces, three geographies, three different silences, united by the same human gaze.

Pen and colour here become tools of respect, of listening, of attention to the real. It is not a portrait of the exotic, but of the essential.

People around the world I

This series of three colour works, executed with biros, is an intimate study of the human in its diversity and depth. Each portrait captures a different face, a particular energy, united by the same technique that combines the immediacy of the pen with the sensitivity of colour applied with restraint and decision.

One of the paintings portrays an Indian man with an intense gaze and abundant, almost wild, grey hair. His hair is not just a physical feature, but a presence, a symbol of identity, of history, of belonging. The pen precisely details the folds of the face, while the colour brings warmth, highlights the contrast between the skin and the hair, and lets the background breathe with a subtly charged atmosphere.

The other two pieces complete the set: different faces, different silences. One perhaps more serene, the other more defiant, but all traversed by the same intention: to capture the invisible. The emotion beneath the surface. The instant suspended between what is seen and what is sensed.

It is not a series about specific characters, but about what they have in common: the imprint of time, the strength of expression, the dignity that emanates from the real. The pen, with its definitive stroke, forces us to look carefully; the colour, with its fragility, reminds us that there is beauty even in the unfinished.

Three paintings. Three faces. A single voice.

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.

Unknown III

This portrait, painted with marker and pencil – and in some strokes, with biros – depicts the face of an older man wearing glasses and a turban, enveloped in a serene, almost meditative expression. The work, in black and white, renounces colour to focus on the essential: the time inscribed in the folds of the face, the depth of the gaze, the texture of a life.

The technique combines fine lines with areas of shadow constructed from crossed layers. The pen gives a particular density, almost metallic, while the felt-tip pen defines contours and gives weight to the dark areas. The pencil softens, connects, breathes between contrasts. Together, these tools construct not only a figure, but a presence.

The turban, more than an accessory, is a symbol of identity, wisdom and tradition. The glasses frame eyes that look not directly, but inwards, as if they were remembering rather than observing. There is no drama, only dignity.

This drawing is not meant to idealise, but to honour. It is a portrait of humanity, of memory, of roots. Of someone who, although we do not know by name, we feel close to, as if their story – silent, drawn line by line – also spoke a little of our own.