Exhibitions
Cristina Babiloni in the deep heartbeat of matter
From the abyss to the light, curated by Marisol Salanova, presents at the Museum of Fine Arts of Castelló nine large-format paintings and three sculptures that explore the processes of transformation of nature and the dialogue between the organic and the mineral.
Nature preserves a memory that precedes our existence and will probably outlive us. Each geological layer, each eroded rock, and each surface transformed by the passage of time contain the testimony of a temporality that transcends human experience. It is in this territory, between permanence and change, that Cristina Babiloni's (Castelló de la Plana, 1981) artistic research is situated, presenting at the Museu de Belles Arts de Castelló Del abismo a la luz, her first exhibition in her hometown.
Curated by Marisol Salanova (a contributor to bonart), the exhibition proposes a sensitive approach to the processes of construction and transformation of matter. Through nine large-format paintings and three sculptures, mostly unpublished, Babiloni articulates a journey that starts from the deepest and most primitive states of nature to explore its metamorphoses and possibilities of regeneration. Painting and sculpture here abandon their conventional limits to establish a meeting space between organic forms and mineral structures.
Babiloni's practice is born from careful observation of the landscape and a curiosity for those elements that often go unnoticed. Eroded textures, the bark of millenary trees, rocks, sea foam, or the chromatic variations of the territory become starting points for research that transfers the traces of time to the plastic language. Her gaze does not seek to literally reproduce nature, but to interpret its forces, rhythms, and transformations.
This research also incorporates materials from construction and the ceramic industry, through which the artist establishes a dialogue between the natural world and the environment intervened by human activity. Concrete, asphalt, and industrial surfaces appear as counterpoints of a landscape in permanent transformation. This coexistence of materials and references broadens the reflection on sustainability, the permanence and fragility of ecosystems, while questioning the separation between nature and culture.
As Babiloni explains, Del abismo a la luz explores "how matter transforms, how it passes through different states, and how this transformative energy is present both in nature and within ourselves." This idea constitutes one of the conceptual axes of the project: understanding matter not as a static reality but as a living system of processes, tensions, and changes. The works invite us to observe what usually remains outside immediate perception and to recognize in natural forms a temporality of their own, much more extensive than the human one.
Marisol Salanova points out that the exhibition investigates "this deep temporality of nature's processes of construction" through an artistic research in which painting and sculpture generate a shared territory between the organic and the mineral. Matter thus becomes the true common thread of a journey that moves between origin, erosion, and transformation, placing the spectator before an experience where sensory perception and conceptual reflection complement each other.
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