A couple of years ago Julia Spínola began working around the idea of body and place. Spínola began looking for means to inscribe forms in her drawings according to laws of weight, gravity and thrust. From that time onwards she initiated herself in a ritual of "anonymous" observation of movement dynamics in public spaces. Spinola embarked herself upon a field research where, examining the gestures that link one action to the next, she seeks to discover an underlying formal logic. In this sense her search is reminiscent of certain mathematicians who from the rigorous (but also instinctive) observation of apparent chance can extract mathematical formulas. In her field research (which could also be inscribed, despite the evident differences, into the long tradition of artists who insist on leaving their studio to record reality in situ) Spínola activates a “thoughtless” gaze. This is a physical gaze, a mechanical, brute gaze that simply puts her body in relation to other bodies, helping her to extract motion vectors from her observations which she then internalizes through gestures and brings back to her studio. These gestures are replayed in the privacy of her studio in the same way in which a scientist puts a valuable sample under the microscope after returning home from an expedition. This way Spínola’s body serves as a witness, an analytical instrument and a vehicle, engaging entirely in the creative task without exposing itself at all.
Julia Spínola lives and works in Madrid. She has recently exhibited her work solo at Tatjana Pieters Gallery, Belgium, and (alongside artist Mauro Cerqueira) in Heinrich Ehrhardt Gallery, Madrid, as well as in Centro de Arte Joven de la Comunidad de Madrid and Espacio F, Madrid. On the other hand she has participated in group shows at the CA2M, Madrid; La Casa Encendida, Madrid; Espai Cultural, Barcelona and Espacio Zuloa, Vitoria. She currently works with Heinrich Ehrhadt Gallery, Madrid, and Tatjana Pieters Gallery, Ghent.