Inma Femenia

Inma Femenía - Free Fall Cii

Técnica: UV impression on PVC

Biografía del Artista: Graduated in Fine Arts from the Universitat Politècnica de València in 2008. Official Master's Degree in Artistic Production from the UPV, 2009-2010. During these years she was awarded several prizes. In 2013 she moved to Berlin to continue her research and begin to explore the relationship between art and industry, returning to Valencia two years later, in 2015. In 2017, she was nominated for The Paulo Cunha e Silva Art Prize in Porto and won the Senyera 2017 Visual Arts Award in Valencia. Her work has been exhibited internationally in England, France, Italy, Germany, Portugal, Colombia and Alabama, among others. Highlights of the exhibitions include: Free Fall at IVAM (Valencia, Spain 2017); Live Today. Tomorrow Will Cost More at Praz-Delavallade (Paris, France 2017); Tensión at Centro Párraga (Murcia, Spain 2016); One Size Fits All at The Ryder Projects (London, UK 2016); Rugged Terrain at Beta Pictoris Gallery (Birmingham, Alabama, US 2016); Bête Noire at Musart (Berlin, Germany 2016) and Offene Atieliers at Atelierhaus Dachauer (Munich, Germany 2015). In the last two years, Inma Femenía's work has been acquired by various institutions such as the DKV collection, the Per Amor a l'Art Foundation (Bombas Gens) and the Generalitat. Valenciana.

Femenía's work is characterized by the relationship between matter and visual perception, highlighting its connection with the digital realm. It strengthens the links between the virtual world and the real world, highlighting the interest in the imaginary that we build through screens. His work has been exhibited internationally in England, France, Italy, Germany, Portugal, Colombia and Alabama, among others. Highlights include: exhibitions: Free Fall at IVAM (Valencia, Spain 2017); Live Today. Tomorrow Will Cost More at Praz-Delavallade (Paris, France 2017); Tension at Centro Párraga (Murcia, Spain 2016); One Size Fits All at The Ryder Projects (London, UK 2016); Rugged Terrain at Beta Pictoris Gallery (Birmingham, Alabama, US 2016); Bête Noire at Musart (Berlin, Germany 2016) and Offene Ateliers at Atelierhaus Dachauer (Munich, Germany 2015). Graduated in Fine Arts from the Universitat Politècnica de València in 2008. Official Master in Artistic Production from the UPV, 2009-2010. During these years she was awarded several prizes. In 2013 she moved to Berlin to continue her research and begin to explore the relationship between art and industry, returning to Valencia two years later, in 2015. In recent years she has appeared in different publications such as DARDO magazine or WRPD Magazine. In 2017, she was nominated for The Paulo Cunha e Silva Art Prize in Porto and won the Senyera 2017 Visual Arts Award in Valencia. In the last two years, Inma Femenía's work has been acquired by various institutions such as the DKV collection, the Per Amor a l'Art foundation, Bombas Gens and the Generalitat Valenciana. The central axis of Free Fall's line of research is the relationship between the material and the digital. It reflects how technological advances determine our understanding of reality, especially how processes Communication techniques - such as downloading, uploading, formatting and editing images - condition our perception. These factors, which tend to transform images by abstracting them, are the premises of this project. Free Fall begins with a randomly selected screenshot from a video recorded by a public surveillance camera. These cameras are intended to transmit real-time images from different parts of the world and their language is characterized by a vertical point of view and low resolution. The chosen image has has been enlarged several times, dematerializing the digital composition and creating a system of translated forms. The piece is installed suspended from the highest point of the exhibition room. The formal evocation of gravity, frozen in time with the materiality of the piece, refers to Hito Steyerl's article, “Free Fall. A mental experiment on vertical perspective”, in which she points to the absence of foundations of the future experienced through screens. Free Fall shows this concept by giving it a materiality to the digital image in the form of PVC film. This transparent material is related to the technological industry. The work dialogues with the space through its proportions and a slow movement in itself, suggesting the reflective contemplation necessary to reconfigure the original image. Transcending the form and meaning of objects through their representation in digital media, Free Fall demonstrates the connection between technological optics and the visual perception of reality, symbolizing the dialogue between digital and analogue language. From this dichotomy, mutations usually linked to the visual language, which conditions the way we experience our surroundings. It is exactly at this point that the reflection of this piece lies, where digital representation and its intersection with the present are altered by a medium that merges within the limits of materiality.