Soledad Sevilla València, Spain 1944

Soledad Sevilla's work revolves around the exploration of the relationships between painting, space, geometry, and subjectivity, combining analytical rigor with a sustained pursuit of sensory and emotional experience. Throughout her career, painting and installation are not separate fields but the natural extension of one into the other: the pictorial work unfolds in space, and space becomes a structural component of the viewer's experience. In her installations—frequently conceived in dialogue with specific contexts—light is a central element, and the exhibition space functions as scenography in which the visitor's physical, poetic, and sensory perception is fully activated.

Her visual language, built on the purity of line, rhythm, and modular structures, traverses different stages without ever abandoning a common axis: the grid and variation as forms of knowledge. From her participation in the Seminar on the Automatic Generation of Plastic Forms at the Computing Center of the Universidad Complutense de Madrid in the late 1960s to her most recent series, Sevilla has sustained what she herself describes as the same painting painted throughout an entire life.

Her practice establishes continuous formal and conceptual dialogues with movements such as geometric abstraction, concrete art, lyrical abstraction, and Op-Art, while also elaborating reinterpretations of landmarks of art history and Spanish culture, from Velázquez's Las Meninas to the Andalusian architecture of the Alhambra. The result is a body of work of singular coherence, in which emotion and rigor, the intimate and the public, form and matter converge in a poetics of light and space.

Soledad Sevilla (Valencia, 1944) studied at the Escuela de Bellas Artes de Sant Jordi in Barcelona and between 1969 and 1971 participated in the Seminar on the Automatic Generation of Plastic Forms at the Computing Center of the Universidad Complutense de Madrid. Between 1980 and 1982 she lived in Boston on a grant from the Joint Spanish-American Committee for Cultural Affairs, pursuing studies at Harvard University—an experience decisive in the development of her Las Meninas series. She has presented solo exhibitions at institutions including the Centro Andaluz de Arte Contemporáneo (Seville, 1985), the Palacio de Velázquez at the Museo Reina Sofía (Madrid, 1995), the IVAM (Valencia, 2001), the Palacio de Cristal at the Museo Reina Sofía (Madrid, 2011–2012), the Centro José Guerrero (Granada, 2015), the Museo Patio Herreriano (Valladolid, 2021), and the Museo Nacional Centro de Arte Reina Sofía (Madrid, 2024), where the retrospective Ritmos, tramas, variables, curated by Isabel Tejeda, was presented. She currently presents Esperando a Sempere at the Museo de Arte Contemporáneo de Alicante (MACA, February–May 2026), curated by Rosa Castells. Her awards include the National Prize for Plastic Arts (1993), the Gold Medal for Merit in Fine Arts (2007), the Velázquez Prize for Plastic Arts (2020), and the title of Doctor Honoris Causa from the University of Granada (2020). She is a member of the Royal Academy of Fine Arts of San Carlos of Valencia and the Royal Academy of Fine Arts of San Fernando. Her work is held in collections including the Museo Nacional Centro de Arte Reina Sofía, the IVAM, the MACBA, the Museo de Bellas Artes de Bilbao, ARTIUM, the Museo del Prado, the Fundación Juan March, the Fundación Helga de Alvear, the Colección Banco de España, the Colección BBVA, the Perez Art Museum (Miami), the Marugame Hirai Museum of Contemporary Spanish Art (Japan), the Künstmuseum Malmö (Sweden), and the European Parliament, among others.