Lucía Cristóbal Marín reflects on the value of the image in painting in the 21st century. Her research starts with the fascination of digital images and the position that painting could take now in the historical context, interpreting those digital images. What it formulates is a generic question of continuation; how should the image be treated in painting and what storytelling capability pictorial images have that come from interpreting digital images? The work proposes a reinterpretation of everyday topics, the thickness of the paint as construction and distancing as continuation.

Her work begins with the selection of images coming from the press. Those images are vulnerable to time, dependent on sources that they go with and the context in which they are consumed. These images are at the same time a specific place used as a pretext to reflect on a general idea centered on reading an image through painting, searching the border between the descriptive boundaries of an image, the relationship with their title and imaginative capacity of the beholder.native capacity of the beholder.

The work is based on two processes, construction-distancing, trying to understand two conflicting and ambiguous worlds. Construction is the veneration of the image and of painting as a fact. Distancing is a world that moves between the conscious and the unconscious. The distancing stems from the analysis of the news itself, working with subjectivity, and pretends to pose questions and to give answers that the image itself is not able to provide. She investigate the use of materials and the development of rules and narrative languages, exploring the usage of digital media and materials in three dimensions. She wants to seek the coalition between manual language and the precision of technology, to turn the painting into a space that can accept absolutely everything to question facts, images and painting.

She has studied Fine Arts and
Architecture. Her work is developed from the influence of these two branches, in the pictorial medium and on a
conceptual level. This leads her to construct a methodology in the development of the work, pragmatic and analytical. It builds the aesthetic, theoretical and contextual
bases of her research in the field of painting and in the social and historic space.

Lucía Cristóbal Marín was born in Spain in 1984. She has studied Fine Arts in Spain and Architecture in Germany. She took part in various exhibitions and scholarships in Europe. She is currently working between Madrid and Munich.

CV

info@luciacristobal.com



work
lucia cristobal marin

Digital Proof

EL PAÍS

„Tragicomedia americana“, 2016
Oil, spray, graphite, felt-tip, foam and sofa on canvas.
130x100 / 130x100 cm

lucia cristobal marin

Digital Proof

EL PAÍS

„Las mujeres de Helmut Newton no son objetos, son irónicas“,2016
Oil, spray, graphite, felt-tip, cardboard and TV on canvas..
170x130 / 170x130 cm

lucia cristobal marin

NEW YORK TIMES

„Getting Lost in the Matrix With Chanel and Hermès“, 2016
Oil, spray, graphite, felt-tip, polyethylene and foam on canvas.
100x70 / 100x70 cm

lucia cristobal marin

Digital Proof

EL PAÍS

„Hollywood se vacía el bolsillo con Hillary Clinton“, 2016
Oil, spray, graphite, cardboard, polyethylene, foam and Marc Jacobs´s handbag on canvas.
130x100 / 130x100 cm

lucia cristobal marin

SÜDDEUTSCHE ZEITUNG / NEW YORK TIMES

„Profikarriere ruiniert / Rougned Odor punches Jose Bautista in face to start brawl“,32016
Oil, spray, felt-tip and nike shoes on canvas.
170x130 cm

lucia cristobal marin

SÜDDEUTSCHE ZEITUNG / NEW YORK TIMES

„Profikarriere ruiniert / Rougned Odor punches Jose Bautista in face to start brawl“, 2016
Oil, spray, graphite, cardboard, felt-tip and polyethylene on canvas.
170x130 / 170x130 / 170x130 / 170x130 / 170x130 cm

lucia cristobal marin

EL PAÍS

„Ámsterdam estrena un nuevo museo de arte moderno “, 2016
Oil, spray and graphite on canvas
220x170 / 220x170 cm

lucia cristobal marin

NEW YORK TIMES

„Exhibition ‘Power and Pathos’: Hellenistic Bronzes as Realism in the Flesh“, 2016
Oil, spray and graphite on canvas
170x130 / 170x130 cm

lucia cristobal marin

EL PAÍS

„El Vaticano sospecha que el cardenal pagó su apartamento con dinero público“, 2016
Oil, spray and graphite on canvas
130x100 / 130x100 cm

lucia cristobal marin

EL PAÍS

„Cosas que las mujeres no quieren oir de los hombres en la cama“, 2016
Oil, spray and graphite on canvas
220x170 / 220x170 cm

lucia cristobal marin

NEW YORK TIMES

„Sotheby´s sells the second most expensives Modigliani´s painting in the history, 2015“, 2016
Oil, spray and graphite on canvas
130x100 / 130x120 cm

lucia cristobal marin

SÜDDEUTSCHE ZEITUNG

A painting of the war

„Wenn Engländer und Franzosen die Marseillaise singen“, 2015
Oil on canvas
130x100 / 130x120 cm

lucia cristobal marin

EL PAÍS

A painting of the war

„Las heridas de Palmira, la ciudad y las ruinas“, 2015
Oil on canvas
170x130 / 170x130 cm

lucia cristobal marin

EL PAÍS

A painting of the war

„El antes y el después de Palmira“, 2015
Oil on canvas
170x130 / 170x130 cm

lucia cristobal marin

EL PAÍS

A painting of the war

„La guerra en Palmira“, 2015
Oil on canvas
220x170 / 220x170 cm














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