María Gómez

María Gómez is a “discrete” artist whose limited production is carefully dealt out by dealers and collectors. The faraway melancholic beauty of her work creates a poetic density whose most intimate sources are always veiled from us. For the dedicated art lover, news of a solo exhibition of her work is always cause for rejoicing, even if, as on this occasion, visiting it means a quick trip to the Fúcares gallery in Almagro, which with this show celebrates its first fifteen years.
(…) Technically, María Gómez’s painting is of a studied simplicity. Her color palette is astonishingly restraint. Greys,
ochres and siennas dominate; nocturnal blues, Mediterranean greens and ivory whites. She enjoys experimenting with various textures and it is not unusual for her to alternate thick, impasto areas with others that are very liquid, barely washed. She employs a wide range of techniques — collage, different forms of printmaking, clay sculpture. At every turn she flees from anything strident and ostentatious.
Her imagery is equally simple. Solitary figures abound — there are those who write, draw or who are simply lost in
thought; bathers traverse lakes and hikers cross forests and hills. Shadowy, diminutive silhouettes. Some crouched to rest and others with lanterns in hand out to pierce the half-light. Scales monumental and reduced. Chiaroscuros and mists. Spirals, labyrinths, grids, targets. Isolated objects, islands, boats. Some urban landscapes. Workers laboring away.
Fairly often she includes a few words or short phrases — brief clarifications or warnings that oscillate between poetic and strictly private meanings. In fact, critics have noted on more than one occasion that María Gómez’s painting opens the door to narrative musings (…).


Francisco Rivas. María Gómez, hermética claridad. Blanco y Negro, ABC. 22-10-89. 22-10-89.