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BUNIONS Time, external accidents and their passage through the

complex anatomical tissues, such as the foot, were the source of inspiration for this work. The journey is what defines and tans the identity.

The osseous deformity caused by a unnatural way of walking is what generates the bunion, or hallux vagus. Ugliness and fetishism in the same object, which represents the reality as it is, hideous and visceral. In the search of the natural model, represents something that I knew first hand.

Bunions, 2014. 51x32x29. White alabaster.

Dawn Breaks, Which Is No Small Thing

AMANECE, QUE NO ES POCO 2016. Performance. 14: 46 min. Documental: Reflection oF the passage of time, which has ended making me see that the time we have is the core of our existence. The contemplative process leads you to change your perspective on society, human relationships, boredom, location, nature and your self-perception as a person. For about 13 hours - with an hour in total of pause, adding all the breaks - I was sitting in a chair, in a patio. I documented the whole process, which was a day of sunlight in August, through several ways: 143 photographs every half hour / randomly made by my family, so that I did not know the time; more than five hours of video, and the notes of my thoughts in a notebook throughout the process. Time is relative, nowadays it is not considered that there is a “present�, but a series of simultaneous events that are neither past nor future, because depending on the conditions of the experimenter, time may even be physically different. This is reflected in the paradox of the two twins by Einstein: If two twin brothers are separated, one staying on Earth and another traveling to a distant star at speeds similar to those of light, when the astronaut brother returns, it will be much more young than the brother who stayed on Earth. This has stopped being a paradox nowadays, since it has been demonstrated with experimental evidences.

If this magnitude has not yet been studied in depth, the dilation of time depending on how the viewer is - it is not the same as an hour of

fun as one of tedious tasks - is even more evident when we talk about cultural differences. The surprise of discovering, when traveling to Asia, that there the conception is different (it is not linear, it is cyclical) led me to work it conceptually. As a performance-experiment, I consider a way of measuring it not subjective, but classical, according to our timed time (the camera / time) and compare it with light and my conclusions. At the beginning, I thought that the light and my reflections were closer to the real time, but the ideas I had preconceived were completely fictitious: For example, during the experiment I realized that the highest point of the sun in the sky does not coincide with half of the solar hours. Once this subjectivity of time is established, we proceed to the measurement, both real and perceptively subjective: Real time -> Light -> Relative time (mine) Footage -> Photos -> Mobile Gradient -> Notebook

Taking as reference the Taiwanese artist Tehching Hsieh and his work One Year Performance, I considered the idea of ​​doing nothing during sunlight, rather than photographing myself. For one year, from April 11, 1980 until April 11, 1981, Hsieh activated a timer every hour. Each time he set the timer, he took a single photo of himself, which all together gave a 6-minute movie. He shaved his head before starting the piece, so his hair growth reflects the passage of time. The documentation of this piece was exhibited at the Solomon R. Guggenheim Museum in 2009, with the film, punched cards and photographs. This is how the idea came about, which in the beginning consisted of a much more experimental performance than documentary : I transformed myself into a sundial, the way of perceiving time would be different in me after seeing a whole day of light. I did not like the result, since neither the idea nor the choice of place nor the means to document this were correct, resulting in sunstroke and lack of recorded hours. When I had the first contact with pedestrians - the public - their concerns and reactions towards what I was doing became part of the work, deviating the theme then of the main idea: personal perception.

Tehching Hsieh - One Year Performance, 1982

First performance, Toledo, 2014. Link to the video:

IDOL Link:

Spain is a country where

Video, 2014. Temporary memory: Cold Aura, a proyect with teacher JosĂŠ Cuevas. A fiction based in a village in my region, La mancha profunda, where an unexpected objet appears. What would happen to the person who found it? Would generate secret worship, or suspicion? In our protagonist, a mixture of both..

the mixture of culture, tradition and progress is always a little odd. An Iphone in 1930 would have been too, and although it has been only 100 years, the intergenerational spleen has been so strong that our grandparents would see as something extra- terrestrial.

PAINTING 2015-2018

The Night, 2017. 100x 80 cm, Oil on canvas.

The interns, 2017.Oil on wood. 120 x 120 cm.

HEROS, MYTH AND LANDSCAPE This series arises from the convergence between mythology, metaphysical painting and landscape painting. Metaphysical Painting (1917, Giorgio de Chirico and Alberto Morandi) considers painting as a method to expose the human unconscious, with natural enviroments and surrealist tints.

With the mixture of myth and landscape, the resulting aura is both credible and dreamlike. The surroundings of the Rioja mountains and their natural colors have served as a reference for the new frames, creating a set of ambiguous opposites: figuration and abstraction, past worlds and current ones that merge creating a new atmosphere. The text The myth of the hero, by Santiago Ramón y Cajal, analyzes the role played by the figure of the hero in Oedipus: reckless enough to do something that no other does, faces his destiny, and commits heroism. This “jump” into the void, this individual confrontation against what is not known, is the inspiration and central theme of the series. The other two myths represented are the myth of Prometheus in chains and the tragedy of Orpheus and Eurydice. In the stories,it is the exact moment in which the hero makes an irrational decision that leads to the end of the story. I tried to capture the metaphysical part of the affront to destiny, which has led man to realize his greatest achievements.

Prometheus in the crag, 2017. Mixed media on canvas. 50x 60 cm.

The Jump, 2017. Mixed media on canvas. 100 x 81 cm.

Orfeo and EurĂ­dice, 2017. Mixed media on canvas. 81x 60 cm.

Colors of Dubai (detail) and The youth (detail), 2015. 100x 100 cm. Mixed media on canvas.

In 2015 I experimented with LSD, a very powerful psychede-

lic drug. For me it was a 360 degree turn, with a lot of inner exploration about what I really wanted to paint. My work moved away from natural painting. I started to experiment with collage and I researched simbolist painters, trying to find a personal way of approaching painting. This led to a series of abstract and large format works. “ Dubai “ and “The youth “ were selected at the Dubai International Art Symposium, and auctioned for charity. The whole series has neurons portrayed, some painted and others added with collage. The neuron represents symbolically the human connection, the universal connection, which allows life and knowledge to flow between living beings. The range of colors is very extensive, with brush strokes that They remind of organic forms, and small figurative parts. Other works in the collection have spirals, a symbol that for me has a high meaning: In the human condition is the loop, the constant return to the same ideas. An obsessive spiral can lead to the greatest ideas, and to the saddest endings.

Outline for Ofelia, 2015. Mixed media on paper. Ofelia, 2015. Mixed media on canvas.180 x 100 cm.

Hunted people, 2017- 2018. Digital painting.


During my subway trips, I try to quickly draw travelers. I use the android Picsart application, which allows me speed - many get off quickly - and discretion. Of all these quick notes is where my current interest in portrait comes from, the amount of plastic possibilities it offers, and the expressive investigation of the face.   Currently my source of inspiration is the costumbrism portrait. I think is the best way to empower people is respresent them in their day to day, doing trivial things, such as studying or waxing. When the face become blurred, the represented individual disappears, the subject loses importance to give it to the daily act. A personal reference could be Daniel Segrove work.    When a painting is figurative, it is always political. Once the viewer recognizes symbols that have a meaning and significance, a statement is generated from it. In my line of work I have always had a common denominator: the search for an intermediate between the figurative and the abstract, which has led me to have unreal compositions -some would qualify them as surrealist- not for identifying with this movement, but for wanting my paintings to have narrative and at the same time play with great compositions of color, where the work ends talking about an unreal dimension.

Ify en el sofá. Study, 2017.Oil on cardboard

I “I just calculated I’m 60 kilos And I just ate 500 gramms of Raviolis Like a whole fucking can That means I’m 0.8% ravioli” Study, 2017 Oil on paper


EXHIBITIONS 07 feb. 26 feb 2018 Punto y Seguido, Exposición colectiva residencias de Verano.

Sala de exposiciones Bellas Artes UCM

12-17 Graduate in Fine Arts, Universidad Complutense de Madrid

30 jun. 4 sep 2017 Exposición Claustro Alto de Yuso. San Millán de La Cogolla, La Rioja.

15-16 Enchange year in Bordeaux, France, Univeristé Michel de Montaigne

28- 3 mar 2017 Punto y Seguido, Exposición colectiva residencias de Verano. La Trasera Bellas Artes

16 Summer residency Cian Fabero, Universidad Complutense de Madrid

9-19 mar 2016 J’ai dans mon cœur un General Motors, TNBA Bordeaux, France

16- 17 Intern in Visual Entidad de Gestión de Artistas Plásticos, (VEGAP) 17- Summer residency in monastery San Millán de La Cogolla, Universidad Complutense de Madrid

29 mar 13- abr 2016 Mollat Underground, Twink Peaks, Iboat, Bordeaux vídeo de la exposición 13 –19 abr. 2015 Artista representante España Dubai International Art Symposium,

Dubai (Emiratos Árabes Unidos) Simposio Internacional, selección representación España

15 jun. 14–presente Miembro del colectivo artístico Area, Universidad Complutense

de Madrid

23 ago. 2013 Exposición Madrid (España) Colectivo Arranques ¡Qué será! Espacio Trapezio

Portfolio Irene Harto  

Portfolio of my works

Portfolio Irene Harto  

Portfolio of my works