The projects of Inmaculada Salinas (Guadalcanal, 1967) shun specialization, making no distinction between produced and reproduced works, between drawings, texts, forms and ideas. Above all, they are attempts to overcome the formal nostalgia that has taken over the contemporary art scene.

In this exhibition Inmaculada Salinas presents thirteen previously unexhibited works whose common thread is the thirteen martyrdoms suffered by the girl martyr Saint Eulalia, a co-patron saint of Barcelona.

In Voices in the Forest Salinas presents a long series combining drawings, texts and images. If to feminize a body is to place it on the passive side of life, that is, to deprive it of any attribute that could be seen as a threat, Salinas traces a kind of political genealogy of the female body as a vehicle for forms of production of power and pleasure that women can exercise but that are censored. She thus proposes possibilities of resistance and subversion that are collected in iconographies of the history of art such as Phyllis and Aristotle, Roman Charity and the Sheela na Gigs, allowing them to speak or resignify themselves through her works.

Voices in the Forest suggests other problems that are more dependent on the condition and vocation of the artist. “My work,” she says, “is a process that requires time, that uses time as one of its themes, and that allows me, while I do it, to think”. She thus states her commitment to shunning “formal nostalgia”, a dependence on styles, languages and techniques that prevails in the Andalusian art scene in which she operates. To escape this “melancholy” and open the horizon to representation, her works and series accumulate a large amount of work, avoid specialization, and establish no difference between produced and reproduced materials, between drawings, texts, shapes or ideas.

Furthermore, without aiming to create an encounter between performative art, dance, criticism and visual arts, Voices in the Forest attempts to place them on the very border that separates them. The aim is to explore proximity and distance, the common and the divergent, the relationships and conflicts that can occur between linguistic, discursive, poetic and aesthetic experimentation, Salinas invited Mónica Valenciano and Laura Vallés Vílchez to participate in this project.