The installation titled On Air consists of a series of PVC sheets printed in color and suspended from the ceiling like a maze in the gallery’s main hall. These prints result from the appropriation of heat maps from Meteosat satellites that define points where climate change has had a devastating impact. These captures are oversized to achieve abstraction, where color, and therefore light, takes center stage, turning a devastated landscape into a sublime one. On a second level of analysis, Femenía challenges us to reflect on the origin of images from satellites that constantly monitor us. In addition to the limitation of our privacy, it also opens a discussion about the levels of pollution caused by human technological development that affect environments beyond Earth’s surface.

 

Black Mirror is another installation in the exhibition. Composed of three black acrylic sheets, it is inspired by the nature of mobile phone screens when they are turned off. Like a mirror, it reflects physical reality rather than the digital one. A dialogue between light and movement is generated, in which the viewer’s body is confronted with the space, becoming part of the artwork.

 

In the small room, there is the installation Ultravioleta which consists of a UV light lamp that transforms the space, revealing invisible scars that have accumulated under layers of paint over the years. With this piece, Femenía invites us once again to reflect on what we see and what we are unable to see. –Special thanks to CHSOS, specially Miguel Ángel Herrero and Antonio Cosetino, for their guidance and support in the developement of this work

 

Finally, located in the back room of the gallery, is the work Aire Magenta, which not only gives its name to this exhibition but also to a series of photographic prints on glass plates. The images result from daytime sky captures made with a Full-Spectrum camera capable of capturing infrared light. Technology and the digital medium once again allow us to access modes of perception inaccessible to the human eye. The artificial, thus, allows us to see the invisible by materializing it into an image.

 

In the same room, a photograph of the night sky titled Electric Eye In the Sky is exhibited, taken with the same Full Spectrum camera. In the absence of radiation from our sun, artificial sources of light emissions are recorded in the image. Satellites that constantly observe life on Earth and transform that information into digital images are now portrayed in the form of trajectory lines.

Inma Femenía lives and works in Valencia. Her notable recent projects include Arc al Cel, a permanent work at the CaixaForum in Valencia, and Infraleve, her previous solo exhibition at Bombas Gens Centre d’Art in Valencia, curated by Julia Castelló and Nuria Enguita. Throughout her career, she has participated in numerous national and international group exhibitions, including MK2, Düsseldorf in 2023; MG16, Cologne in 2022; La Capella de l’Antic Asil, Alcoy in 2021; and Sala La Vicaría Puente de Génave, Jaén, in 2020. In 2017, she was nominated for the Paulo Cunha e Silvia Art Prize in Porto, and in the same year, she won the Senyera Visual Arts Prize in Valencia. Inma Femenía’s work has been acquired by various institutions, including the DKV collection, the Per Amor a l’Art Foundation (Bombas Gens), the Valencian government, and the Fundación la Caixa.