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Fina Miralles, the union of art and nature, recognized with the 2025 National Prize for Plastic Arts
Artist Fina Miralles has been honored with the 2025 National Prize for Visual Arts, awarded by the Ministry of Culture and endowed with 30,000 euros. The jury, which met this Monday, recognized her pioneering career since the 1970s, highlighting her commitment to feminism and her early sensitivity to ecological issues. According to the verdict, Miralles has consistently championed the essential connection between human beings and nature, establishing herself as a key figure in contemporary Spanish art.
A pioneering artist in conceptual practices, she began experimenting in the 1970s. Trained in Barcelona, she has developed an international career with extended stays in South America, France, and Italy. Her work is often associated with land art and consistently explores the connection between the body and nature. Furthermore, her actions incorporate a critical perspective on politics and patriarchal structures.
In the previous edition, the award went to Pedro G. Romero, joining a distinguished list of artists who have received prizes in previous years, including Teresa Lanceta, Rogelio López Cuenca, Dora García, José María Yturralde, Àngels Ribé, Ángel Bados, Ángela de la Cruz, and Juan Hidalgo, among other prominent names on the art scene.
Fina Miralles: Capital in Art from the 1970s to the Present
Among Fina Miralles 's first creations are emblematic pieces such as Still Life (1972), Tree Woman (1973) and Relation of the Body with Natural Elements in Daily Actions (1975), works that already announced her deep connection with nature and her sensitive gaze towards the everyday. During those years, she became part of the effervescent Catalan avant-garde scene, participating in key spaces such as Sala Vinçon, Sala Tres or Espai 13 of the Fundació Joan Miró, true centers of artistic experimentation.
In the 1980s, Miralles oriented her research toward the material, using painting and drawing as new territories of exploration. Projects such as Doble Horitzó (1979–1981) reveal the fusion of gesture and contemplation, of performance and pictorial practice, in a transition that led her toward an increasingly intimate and introspective expression.
With the arrival of the new century, the artist retired to Cadaqués, where she continued her dialogue with nature through so-called photoactions, works that condense time, body, and landscape in a single breath. Her most notable exhibitions and interventions include From Ideas to Life (Museu de Sabadell, 2001), the Nadala at the Fundació Joan Miró in Barcelona (2014), Naturaleses naturals 1973-2016 (Museo Arqueológico Nacional, 2016), and Soc totes les que he sigut (MACBA, 2020), a retrospective that reaffirms the coherence and depth of a career guided by the search for the essential.
