MARGA POL

Your work explores the intersection between chaos and solitude. How do these forces manifest in your creative process and images?

Chaos is the starting point. I paint without sketches, without trying to control the outcome too much. I need to dirty, to break, to let the gesture appear.

Solitude is the space where this happens. When I stand in front of the canvas, I am alone with what I feel.

That is where chaos becomes form.

I do not paint to explain chaos — I paint to move through it.

Many of your pieces combine materials such as vinyl, pencil, and synthetic enamels. What attracts you to these materials?

I am drawn to the fact that they are not “noble” materials.

They are direct, industrial, physical. Vinyl sticks, spray is immediate, pencil is intimate.

This combination creates tension, like life itself.

The material is not decorative — it is part of the message.

MARGA POL | Bothers

Your works appear simple at first glance but reveal complexity over time. Is this tension intentional?

Yes.

I am interested in creating work that enters quickly through the eyes but does not exhaust itself in a second.

Simplicity is a door. Complexity is what remains when you stay longer. Like emotions: they seem clear, but they never fully are.

Does music play an important role in your process?

Music is not background — it is energy.

When I listen to intense music, the gesture becomes faster, more visceral. The line comes out without thinking.

If the music is atmospheric or slow, the rhythm of the painting changes: there is more silence, more space, more breath.

I do not paint what I hear, but the body responds to sound. And the body is the one who paints.

MARGA POL | Connection

How does your background in graphic design influence your approach to composition, color, and form?

My training in graphic design gave me a strong sense of structure.

Even when the painting appears spontaneous, there is a clear compositional base: balance, tension, visual hierarchy.

I also have a very direct relationship with color. It is not pure intuition — there is decision, there is criteria.

Design taught me to synthesize. To remove what is unnecessary.

MARGA POL | Freedom

How has living and working in Mallorca influenced your vision, palette, or themes?

Mallorca is light and memory.

The light is brutal, direct — it does not forgive. This is visible in my palette: strong contrasts, vivid colors, breathing whites.

There is also the inner landscape: the sea, the wind, the silence of the villages.

I do not paint landscapes, but I paint from this place. From an island that is both refuge and limit.

MARGA POL | Sadnesss

What do you hope viewers feel or reflect upon after seeing your work?

I do not expect them to understand anything specific.

I hope they feel something real.

If a piece makes them stop for a moment, if it unsettles or moves them, that is enough. I paint to feel alive. And if someone, looking at it, feels a little more alive too, then the work has fulfilled its purpose.