Fuencisla Francés (Segovia, 1944) is an extraordinary artist who is enormously methodological and demanding on herself. She immerses herself in her creative work and has a unique place in the Spanish artistic scene. She continually experiments with forms, materials and processes, investigating the construction of works with pieces of materials, fragments of paper, painted canvases and wood, which often come from previous works that she deconstructs, cuts and reuses to reconstruct new creations. She then uses these to make vibrant compositions that are full of great structural and spatial strength, but also poetic and aesthetic. Even the architecture of the place is a fundamental element of her compositions.
She makes both two-dimensional and three-dimensional visual creations that follow constructive processes of compositional procedures, rhythmic and vibratory spatial games, resonances of sound and the most experimental music. This then transfers sound to silence and gestures, as John Cage did in the 1950s and 1960s. Fuencisla Francés exhibits Fluxus tendencies here, taking the composition to the field of plastic arts and crossing boundaries to delve into fusions. Other influences are also present, such as expansive abstract painting and even action painting, or the so-called anti-form sculptors at Documenta VI in Kassel, under the auspices of the former great curator Harald Szeemann, as well as quantum representations. She composes in space in combination with the material elements and forms, which she subjects to pictorial or material series and modules, or hybrids of the two. However, she does so in an organic way, without rigid structural constrictions, while creating order within the apparent chaos.
This is an organic order, full of compositional rhythms in a painting that expands and fills the space with its forms and tones, and that transforms itself into sculptures, installations or crossbreeds of both with its abstractions full of energy, like quantum elements that cross the physical and do not stick to the dimensions of what we call real. The artist’s plastic art is invasive and transgressive, and crosses the limits with her explosions of shapes, fragments and tones, invading spaces with energy and plastic force, jumping over walls and canvas borders, and separating corners. 
The exhibition we are now presenting, FUENCISLA FRANCÉS: Processes, rhythms and vibrations, is immersed in these ideas and ways of creating her works and artistic approaches. It is a large-format exhibition that occupies a large part of the spaces of the Esteban Vicente Museum of Contemporary Art in Segovia. It is also the result of a selection of pieces – some already existing, some that are versions of previous ones and some newly created – made up of several large installations, some of which were created in the exhibition space. There are also medium formats, collages, paintings, sculptures on paper or hybrids with paintings, drawings, objects, and various documentation, such as books, photographs, objects and an introductory video to this figure.
Margarita Aizpuru, Curator of the exhibition
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