Personal appreciation from Arnau Puig
Nuria’s artworks are placed outside the abstraction, because even though they respond to a gestural attitude, these do not want or intend to be abstracted but mean to represent themselves. I may say: Nuria’s artworks are minimalistic presences (without directly referring to their own meaning) of feelings and sensations.
Her works circulate because they are controlled emanations or impulses with attitude toward life that meets all criteria of being an art form. The language we found in her artwork, formally similar to calligraphy; strictly stenography within a very receptive substract, which records the incisive personality that executes it. It is as when the poet or the enraged one writes the expressive signs of their reactions to the reality on paper, on a wall or on anything else.
Her works testifies facts of absolute symbol-embedded sincerity through cemented spaces. These words or phrases, like indicative titles and verbal perceptual orientations, are the ones that accompany her as the executor of achievements in the material world. In this personal creative circumstance, facing the conceptual minimalism versus the American tradition, the sgraffito reflects and samples more than what is perceived, due to its own ability to allude what would have been seen after you experience a sensation. Her artwork is in the present and in the future at the same time, its body feels and contains the gesture of the cracks; the cry that shouts expressively and intentionally.