Ellas III: Elena Goñi with Isabel Baquedano
With Goñi we examine the settings and figures in Baquedano’s painting, where an image seems to be projected on an interior figure which, just like Goñi’s figures, seems to be suspended in a minimal reality represented by piece of fabric or a pose.
Castellano / Euskara / English
Digital project. Museum's webpage and Youtube channel
- Film and video
- Digital & Multimedia
Coordination and direction of the project: M. Victoria Antoñanzas and César Ochoa. Department of Education and Cultural Action. Bilbao Fine Arts Museum
Artistic direction and editing: Tamara García Iglesias
Technical and colour editing: Maialen Sarasua Oliden and Olaia Nogales
Camera: Alain García
Live sound: Iñigo Azkue
Subtitles and transcriptions: Paula Gómez and Júlia Gaitano Mendizabal
Artist: Elena Goñi
Length: 11′ 16”
Elena Goñi (Pamplona, 1968)
She first studied at the Arts and Crafts School of Pamplona, where she was influenced by Juan José Aquerreta and Isabel Baquedano. In 1993, she earned a degree in Fine Arts from Salamanca with a specialisation in Design. Her first solo exhibition was in 1997. Shortly thereafter, she won the prize from the Institute of Sport and Youth of the government of Navarra. In 2000 she won the ABC painting prize, and in 2003 she designed the poster for the Bullfighting Fair for the running of the bulls in Pamplona. She spent several years working as an illustrator at the Diario de Noticias. A figurative painter, her works are usually based on photographs. Her compositions essentially and transcendentally reflect on familiar people, objects and environments.
A very young child in the arms of his mother or caregiver stares at the spectator while the woman, whose back is turned towards us, seems to be concentrated on getting ready to wash the child. The figures are monumental, perhaps to emphasise their physical contact, and they are situated in a space about which we are given little information, except for the pitcher and ewer located on the left. However, the armchair, whose seat back is in the foreground of the composition, suggests that it is a pleasant, bourgeois interior.