Florència Coll’s work is a slow-burning affair.

Time doesn’t pass just for the sake of it, as someone once said: artists make time their ally, even though not all of them evolve with the sufficient courage to face it head on.

The style of this painter and sculptor contains the trademark warmth it has always produced, in line with her way of understanding painting: that sense of innocence, sometimes tragic and sometimes ironic, drawing us in with its commitment to life.


And it contains a determination to approach the creative experience as a piece of experimental research that reveals the languages through which she continuously reinterprets the painful passage of time.



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Beyond any strict chronology, a sense of progression stands out in her work in which each new step can be read from the experience of the previous one.


No part of what we’ve seen and no part of what we know about her previous work is superfluous, but rather it places us in a privileged position from which we can enjoy whatever comes next. To use an image favoured by Florència Coll, namely stairs, many of her pieces encompass several sections that can be contemplated independently despite the prophetic perfume which emanates from them.

One period comprises works motivated by introspection, in which, with the ironic sense of detachment we have come to expect, the painter reveals biting images that exude experiences lived to the limit.

Another period offers the pleasing discovery of the artist’s more restless spirit, that which pits her painting against the limits that it might absorb. It goes without saying that this is the most experimental side of her work, an aspect deserving of acknowledgement; it incorporates innovation with good judgement, and justification with a gesture that takes it beyond simple experimental exhibitionism.


Her most recent work represents a crowning moment, achieving almost the harmonious sublimation of introspection and experimentalism, with works that are burned onto the viewer’s retina.

In between each of these sections, perhaps with a linking mechanism that facilitates the transition from one to the other, we find collections of drawings which, despite their nature, help us to understand the resulting creative process, and the seed of an initial series of sculptures which, through the exercise of volume, explain the personal and artistic challenge that Florència Coll has had the courage to take on.

In the GALLERY, which I encourage you to visit, her painting takes on dimensions in which the human figure becomes humanised, if you’ll pardon the play on words, with a size that places it right among these existential question marks that have accompanied her ever since she grasped their real dimension.