PROJECTS

Under the tide’s lip

Project developed during the residency: Painting in the expanded field in Konvent Zero and shown at the group exhibition of the same nam (2026).

During the Painting residency Painting in the expanded field, Júlia uses as her premise tidal pools, the water that remains stuck amongst the rocks after the retreat of the tides, as a possible structure of the memory: a partial, temporary retention and subject to transformation. Incorporating materials from Konvent’s environment, she takes her paintings from figuration to abstraction, rehearsing in this loss of definition a way to preserve intimacy without delineating it. Body, landscape and memory lose sharpness, not to disappear, but to find another way of being present.

Et busco, Et trobo, Et tinc

Project shown at the Stripart Festival (2026), and Et busco shown at R.A.RO On-site Projects (Abans que desaparegui, 2026) and Casa Espacio (Té de estrellas, 2026).

Et busco, et trobo, et tinc. discusses the will to conect, stablish relationships and conections and love. Through three very technically different artworks, the project aims to explore the bond and the intimacy shared through a strong emphasis in matter and the senses.

A flor de pell

Project shown at Festival Niu (2025) and the Stripart Festival (2026).

Bedsheets against skin, the intimacy of sleeping. This project grows from a willingness to depict the trust in interpersonal relationships thrugh rest. Working off of the idea of rest, specially sleeping as an act of vulnerability, the artist wants to show the intimacy that is shared in between bedsheets, blankets and pillows as a result from sleep.

Through fluid colors and free surfaces, the large artworks interact with it’s surroundings through movement, transparencies, visual textures and size. The use of bed sheets as canvases insinuates a certain intimacy in the scenes, the folds and seamlines indicate sensibility, and at the same time they establish the support not as a background, but as

Mitjançant colors fluids i suports lliures, les obres de gran format interactuen amb el seu entorn a través del moviment, la transparència, les textures visuals i la mida. L’ús de llençols com a suports insinua una intimitat en les escenes, els plecs i les costures indiquen sensibilitat, a la vegada que estableixen el suport no com a fons, sinó com a element propi del moment.