Recent Work


Each of these drawings has a first phase in which I mechanically make watercolor lines, later moving on to another phase, more thoughtful, in which I relate some lines to others, also with watercolor and adding other materials such as graphite, thread and vinyl, imagining in them a series of abstract architectural spaces.

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Work 2021-2022


These works was made with materials I have been saving for a while.
Small-format pieces using ink as the common thread, flowing through the paper in order to leave its mark. Later, I intervene and, in some way, those trajectories are altered. In this experimentation and search, some of the results appear by chance.

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This path began when I experimented with some of the wallpapers for the Estratos series. I set aside some very small parts of those papers, for I perceived they would have another life, independent and with another meaning. They can make various images visible such as totem poles, chimneys, geometric compositions, landscapes with cypresses…

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Carnicer works with small ranging bands, as if the material only consisted of its tearing and joining together, as if the form were the colour surrounded by the border made of torn paper, by the tired repetitions it weaves. The painter uses papers she turns at random into strips and sticks them horizontally onto the canvas or wood. The colour-impregnated wound alludes to the trauma originated by every form, every icon of experience.

Extract from the text written by Ignacio Castro Rey in July 2008.

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Between 1999 and 2001 she starts a series of works from old maps. We see in them some influence from surrealist painting or works by early Miró, as in “Untitled, 2001”, as well as from the geometric abstract painting, as in “Txingudi I, 1999”.

Along this process from figurative to abstract art, Isabel G. Carnicer has sometimes worked with photographs
she had found or taken herself, and which she transfers onto the canvas. After that, she works with them till any trace of the object disappears, thus creating an abstract painting, as in “Composition 12.99, 1999” or “Composition 16.99, 1999”.

Extract from the text written by Oliva María Rubio in October 2006.

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