Biography

Esperanza Zabala (1974) is a basque artist. She began to study Arts at the Liceo di Brera in Milan, Italy. She learned the rudiments of Art there, and she came back to the Basque Country to study design in Donosti (San Sebastian). Her early painting works were greatly influenced by the divergent styles of classical and impressionist painters. She went to Salamanca to study Fine Arts at the University, and she knew Jorge Quijano, Chema Alonso and Enrique Marty, who teach her the process of making sculptures and installations.

Her expressionist paintings were tremendously influential on the artists of the University, like Raquel Gonzalez Roldán. They worked together in a wall painting in the Amilibia stadium, with Enrique Linaza. Esperanza Zabala ́s first important commission was individual exhibition in Portalea (2001), in the ville of Eibar, where she is from.

She handled the erudite allegorical paintings with expressionism. Depicting a fine array of expressive artworks on canvas, she added a group of sculptures and installations, some of them made with Marty ́s featuring.
Feminism, body, sex, death and fashion were the themes of those artworks, influenced by quotidian happenings and horror films. She went to Bilbao where she kept contact with other Artist like Elsi Ansareo, David Azpurgua, Juan Luis Goenaga, Itziar Rincón, Olatz Blanco, Belén Magariños and Iratxe Ursua.

Esperanza Zabala painted many other scenes including animals, people, natural and urban landscapes, with strong brushstrokes, colors, lines and shapes combined in a semi-abstract compositions, close to Jose Luis Zumeta ́s style.
She started working with Arteko Art Gallery. A few years later she was working on her project “la ruina”, Assumption of death, self-destruction, dialog between materials and composition, going deeper into the concept of skin, the concept of the exhibition place as a ludic place. The body is represented like a mutilated object, dressed by an elaborate with mousetraps , or even like a kind of death emerging from the clouds, handing even inverse spacial concepts and processual connotations of the skin. Other example of that is her installation “capricho”, placed at the riding club in Lasarte.

Esperanza zabala uses daring posing in her conception of the figures, like Ricó, for example.

The Artist is going deeper into the knowledge of the communication process, including semantic process and the concept of body-machine and mind-machine, and their relationship with conventional classical semantic models.

Advertisements