The approach to art is made from the sensory experience. Art is seen, heard, touched... Based on this experience through the senses, the classification of artistic disciplines has been historically addressed: visual arts, music, dance or theatre. But these categories present problems when the work feeds on two different techniques giving rise to hybrid creations, like the ones which incorporate sound and image, intervention and video, painting and screens, and an infinite number of combinations that enrich the current panorama of contemporary production.

Pablo Picasso, “Femme dans un fauteuil”, 1929. Museu colecçião Berardo, Lisboa. © Sucession Pablo Picasso, VEGAP. Madrid 2019

The visual burden of this approach to art is undeniable. But when we pass from pure experience to academic study, we face a knowledge always expressed in writing where the object of analysis is separated from its tangible reality and is transformed into an abstract and incorporeal idea to discuss and comment on. Almost all branches of knowledge have included a particular chapter dedicated, we could almost say, to self-analysis and self-evaluation. The development of a methodology for each field is a sign that there is a recognised and autonomous area of study, as is the case with art.

Alfred. H. Barr Jr., Diagram of stylistic evolution of art from 1980 to 1935, cover of “Cubism and Abstract Art”. New York: The Museum of Modern Art, 1936. Archivo Lafuente

The protagonists of the sector themselves have repeatedly questioned how art history has been approached, from academicism and theoretical narrative. Therefore, many of them have proposed alternative ways of exposing that knowledge with a greater visual load, paying homage to the works that make up the evolution of artistic creation.

These days the Juan March Foundation hosts the exhibition "Genealogies of art, or the history of art as visual art", in which we can see an interpretation of the famous diagram that Alfred H. Barr, Jr., that he proposed for the cover of the catalogue "Cubism and Abstract Art ”(1936) to explain the stylistic evolution of art from 1890 to 1935. This curator, who founded in 1929 of the Museum of Modern Art in New York (MoMA) and was also its first director, wanted to synthesise in a graphic the significant landmarks of the transition art towards the s. XX to make it easy to assimilate at a glance.

Vasili Kandinsky, “Landscape with Two Poplars”, 1912, © Arthur Jerome Eddy Memorial Collection (via artic.edu)

On this scheme, the exhibition is presented as a documentary sample, with 350 works and more than 100 documents that mark the diagram in each of its historical marks. Works by avant-garde artists such as Pablo Picasso, Constantin Brancusi, Kazimir Malévich, César Domela, Francis Picabia, Robert Delaunay and Vasili Kandinsky, among others are collected. In addition, there are some works that were present in Barr's original exhibition, such as “Landscape with Two Poplars”, 1912, by Vasili Kandinsky and “Femme dans un fauteuil”, 1929, by Pablo Picasso.

Lil Blanc

CONVERSATIONS WITH MARISOL SALANOVA. INTERVIEW PROGRAM. ART MADRID’25

Lil Blanc (Madrid, 1993) began by experimenting with textures, gradually evolving toward gradients and exploring the transition from one color to another. This led her to a form of abstraction that expresses intense emotions. Her artistic journey started with a focus on high-gloss finishes, but the structure of her paintings has grown increasingly significant, transforming each into a nearly sculptural piece. The gentle gradations of color in her canvases evoke sunset skies, and her intent to capture that fleeting moment stems from a personal experience watching a summer sunset. Her work is not only observed but also experienced, inviting reflection on time, transience, and space. A perfectionist by nature, she adheres to the philosophy that less is more—a legacy of her architectural background. Without artifice, she crafts stories that are not immediately evident, embedding layers of meaning within each piece.

Touch the Sky. Mixed media on canvas with a high-gloss epoxy finish. 2024. 100 x 100 cm.

What role does experimentation play in your creative process?

For me, experimentation is innate and natural. Being in constant production generates movement and a flow of ideas. I started with more organic works where textures took center stage, eventually shifting toward gradients and high-gloss finishes, each step driven by the pursuit of perfecting my technique. No two works are alike; in fact, there is always a continuous search to create something new and different.

Lil Blanc's studio by Amores.

Who are your references?

Having studied architecture instead of fine arts gives me a different set of influences, which certainly shapes my creative approach. I’ve always been inspired by Mies van der Rohe’s "less is more," the color palette of SelgasCano’s Serpentine Pavilion, and the fantastical creations of the Archigram group. Additionally, social media connects me with contemporary artists. For instance, I admire Nick Thomm’s XXL high-gloss pieces, “onekean_” for his gradients, and C. J. Hendry for her mastery of colored pencil.

Kill Bill. Mixed media on canvas with a high-gloss epoxy finish. 2024. 100 x 100 cm.

What is the most recurring internal dialogue in your creative dynamic?

I rarely listen to music while working; I prefer silence, as it helps me think. My most frequent dialogue is with the piece I’m creating—I think about how to convey its story and the words that will bridge the connection with the viewer. I also anticipate potential questions and draft responses. In fact, I invent dialogues about the piece, which influence my process; if something contradicts the message I want to convey, I revise the work itself.

Lil Blanc's studio by Amores.

How would you like your work to be perceived?

Artistically, I want my pieces to bring joy to people, to warm spaces, fill rooms with color, and leave a noticeable void in their absence. I want the gloss to reflect the happenings of a room and for the gradients to harmonize with natural light, evoking balance and serenity. On the other hand, I strive for the highest quality and perfection. From the first step to the last, I meticulously oversee every detail. I’m a perfectionist, and my goal is for the viewer to sense this simply by contemplating the work—for the piece to speak for itself.

pie de foto

What technical challenges do you currently face?

The second part of the process presents the greatest difficulties. Achieving a flawless high-gloss finish requires extreme precision, attention to every detail of the process chain, respecting timing, and turning an artistic endeavor into something almost chemical. Moreover, working with large formats up to three meters adds to the complexity. Yet, when I see the final result, it’s all worth it.

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