The works of art presented by Roma Blanco in this exhibition belong to a series called Ensayos para la decodificación de una fórmula (Essays to decode a formula), produced between 2014 and 2015, after a residency in the CAC Ses Voltes, in Palma de Majorca, Spain. Having finished Pharmakon, her previous project, and deeply moved by the magnificent rose window in the Cathedral (known as “the Gothic eye”), she started working on a series of formal investigations related to graphic production. Being immersed in a creative context different from her usual one, and being deprived of the materials she used to use, a new artist was born, drawing again, after a long period without using this technique.
This was when her specific research about medieval stained glass started, which was overlapped with questions about the world of chemistry and sacred geometry. The works of art from this series started appearing as a result of her drifting through these fields, so different in appearance. These works have the stamp of an alchemist that, guided by intuition and forms, discovers infinite connections which are present in the world, almost without even wanting to. Thanks to her sequential work, she maps possible relations that go rhythmically from one hypothesis to another, discovering implausible relationships and elevating them to a state of possible truth. This is where the magic happens. Moving between intuition and a rigorous study of those apparently distant disciplines, Roma achieves unbelievable results and opens new crevices between science, sanctity and art.
Delicate balances and powerful connections emerge in these papers. Notes on the margins, geometrical explorations, chemical formulas and an alter ego that signs as “Curandera” (Healer). An amalgamation of forms, colours and languages that, progressively, reveal other configurations, whether natural, organic, or cosmic. Her discovery that a molecule's diagram invokes the structure of a seed, which in turn looks like a sacred symbol, that is in fact a perfect geometrical shape forces us to question ourselves about this parallel world of invisible bonds that we cannot perceive or understand. In these papers, something we intuit appears, something unknown, but deeply proximate.