In what is her fourth solo exhibition at the gallery, Mónica Capucho proposes a body of work that understands color not as a fixed phenomenon, but as a dynamic construction resulting from the interaction between matter, perception, and language. Within this framework, the works go beyond the mere descriptive function of color, assuming it as an autonomous field of visual investigation that structures the presentation of the works in direct dialogue with the gallery’s architecture.
The creation of chromatic environments, based on systematic variations of a single color explored through different combinations, densities, and scales, highlights color as a relational system. Under this prism, minor alterations produce significant shifts in the perception of depth, proximity, and visual rhythm. The juxtaposition of different shades conditions our experience of apprehending the artistic object, given that the work, viewed either in isolation or as a whole, acquires a more comprehensive chromatic dimension. What the artist asserts is that the reading of color is neither objective nor unequivocal, but rather flexible and context-dependent. This continuous and relational flow gains a tension of opposites in the main room through the chromatic clash between blue and red.
The polarity between these colors creates a psychophysiological atmosphere and a spatial perception of rupture. Red, as a warm, long-wavelength color, stimulates enthusiasm and energy; moreover, the way it is applied to the wall makes it appear to advance toward the viewer. Conversely, blue, as a cool, short-wavelength color, generates an illusion of depth and distance, enhanced by the horizontality with which it is distributed across the room.
Capucho thus proposes that painting can be a decentered and multifaceted sensory experience. In doing so, the artist rescues the inquiries that shape contemporary painting: what is it about painting that makes it painting? Can sculpture be added to painting? Can painting inhabit a sculpture? Placing her work within the lineage of conceptualism—where the image dematerializes in favor of processes, couplings, and formal mutations—the artist expands the boundaries of painting by taking advantage of the site-specific installation.
By dissolving the boundaries between the pictorial plane and the architectural space, Mónica Capucho offers us a painting that occupies the space, prompting us to rethink painting as a continuous, interconnected, and profoundly complex flow.
