Catalina’s work stems from the notion of the ‘sublime experience’ in relation to memories and recollections of journeys to wild and isolated places, which invoke in her a sense of freedom.
Her main ideas come from The Contemporary Sublime – the awe-inspiring or overpowering feeling of being in nature. Proprioception, phenomenology and haptics are important concepts, which all find references within her work.
Catalina’s aim is to evoke her experience of being in nature, through a painting language that depicts the essence and atmosphere of particular places, rather than focusing on their physical reality. Creating poetic maps of emotion, Catalina invokes an immersive viewer experience.
Current events have increased her focus on the environment and freedom, especially mass human migration and the increasing threat of human over-exploitation of the earth. This has resulted in the creation of ‘Dual Canvasses’ – vertical planes/barriers across the canvas – that allow the new concerns to partake in the original conversation.
Colour, surface and texture are important, but process and materiality are the core of Catalina’s practice. A clear methodology takes place within her work. Paintings start with an initial stain that determines the development of the composition. Catalina reacts to consecutive marks during the process leaving traces of the paintings history. In the ‘dual canvasses’ works, barriers affect the paint or sediment’s movement across the surface, adding symbolic meaning to the process.
Catalina uses natural and unusual materials like coffee, charcoal and metal powders. She makers her own paints and when possible extracts pigments either from specific places (Colombia) or through the application of chemical processes to prime materials due to her fascination with alchemy and experimentation. To her, the pigments are as important as the paintings, and therefore she includes them when exhibiting her work.