CURRICULUM VITAE:

FRANCISCA BLÁZQUEZ was born in 1966 in Madrid, Spain. She studied at the Faculty of Beautiful Arts of Madrid from 1981 to 1983 and at the Study Arjona from 1983 to 1989. She obtained diverse scholarships in her studies after a rigorous selection process: Arjona Studies, Drawing Statues, Drawing Figures, Bodegón Painting, Painting Figures and Personal Interpretation. From 1989 to 2002 she has completed the following courses: an Intensive Course of Painting with Dª Mª Luisa Esteban in the Monastery of Pole, Pontevedra; Study in Groups, Biennial of Venice; Oliver Mosset, in New York; Intensive Course of Painting in Paris; Circle of Beautiful Arts in Madrid; Intensive Course of Contemporary Art with Mr. John Armleder; Study Kassel Documents and Complete Course of 3D (Three Dimensions) with Joaquin Carnicer. Francisca utilizes diverse and complex artistic animations, digital photographs and a great artistic production in her half electronic work in Madrid.

COLLECTIVE EXPOSITIONS and FAIRS:

Francisca has participated through the years in about 200 collective expositions in Spain, Italy, France, Germany and Switzerland. 2002 - American Prints. Supermarket of the Art. Madrid. Spain. 2002 - North Balcony. The Merindades and Valley of Valdivielso. Burgos. Castille and Leon. Spain. 2002 - ‘Umbrella Intervened'. Rafaela. Argentina. Traveling to 10 cities Argentinas. 2002 - EVA. Iberjoya. Madrid. Spain. 2002 - EVA. Fair of València. València. Spain.- 2002. EVA. Calamocha. Teruel. Aragón. Spain. 2002 - Castle of Lucena. ‘They spun Be used to III'. Lucena. Cordoba. Andalusia. Spain. 2002 - Gallery 21. A collective of engraving. Cordoba. Andalusia. Spain. 2002 - Central of Islamic Studies. Madrid. Spain. 2002 - Business Art Gallery. Córboda. Argentina. 2002 - Collective of engraving. Rina Bowlen. Madrid. Spain. 2002 - Third Edition of FAIM. Independent fair of Art in Madrid.

Madrid. Spain. 2002 - Espaço Lóios. Oporto. Portugal. 2002 - Public Collection Space. Albacete. Spain. 2002 - Gallery Saw-art. Director: Montse Saw. Barcelona. Spain. 2003 - Fair of Iberjoya. ‘Tonet'. Madrid. Spain. 2003 - EVA. ‘Second Skin'. Cordoba. Andalusia. Spain. 2003 - Gallery d'Art I Antiguetats Paqui Thin. Sant Sadurní d'Anoia. Catalonia. Espanya. 2003 - Market of Commerce. Buenos aires. Argentina. 2003 - Central Colombo American. Barranquilla. Colombia

Expositions in fairs including ARCH, with the gallery Anselmo Alvarez of Madrid; fair of COLONY (Germany), with the Galeria d'Art Contemporani Antoni Pinyol of Reus (Tarragona-Spain) and to Lineart, in Gent-Ghent (Belgium) with the Gallery Berruet Building of Logroño directed by Killing Berrueta.

WORKS IN PRIVATE COLLECTIONS:

Spain (Barcelona, Madrid, Cordoba, Tarragona, Girona, Reus, Lleida, Logroño, Gernika); France (Paris); Swiss (Basilea); Germany (Mannheim); Portugal (Oporto); Argentina (Rafaela, Conception of the Uruguay and Cordoba); Colombia (Holy Marta) and United States. Collection ‘Peoples of Forastía'. Anaite. The Rioja. Director: Kill Berrueta. Spain.

WORKS IN PUBLIC COLLECTIONS AND MUSEUMS:

- OR. B. S. Swiss union Banks. Madrid. Spain. - Banking Cooperation Switzerland. Barcelona. Spain. - Banking Corporation of Spain. Argentaria. Madrid. - Private Businesses of Basilea. Swiss. - Contemporary Museum of Art of Japan. Marugame Hirai. Japan. - Museum Ánfora Nova. Rute. Cordoba. Andalusia. Spain. - Kultur Etxea Gernika-Lumoko. Bizkaia. The Basque Region. Spain. - Peoples of Forastía. Anaite. Logroño. The Rioja. Spain. - City Hall of Lucena. Cordoba. Andalusia. Spain. - Gallery of Art Paqui Thin. Sant Sadurní d'Anoia. Barcelona. Catalonia. Spain. - Gallery Berruet Building. Logroño. The Rioja. Spain. - Espai Miquel Gaspar. Barcelona. Catalonia. Spain. - Latin American Foundation for the Development. FIDE. Madrid. Spain.

- ‘Marquis of Comares'. Lucena. Cordoba. Andalusia. Spain.
- Gallery 4/17. Madrid. Spain.gallery Anselmo Alvarez. Madrid. Spain.
- Gallery Verena Hoffer. Barcelona. Spain.
- Gallery Austellungsraum. Basilea. Swiss.
- Literary Society of Madrid. Holy room of Expositions Catalina. Madrid. Spain.
- Gallery Antoni Pinyol. Reus. Tarragona.
- House gave Culture it gave Brazil. Madrid. Spain.
- Museum Bolivariano of Art of Holy Marta. Holy Marta. Colombia.
- Pictorial Work. City Hall of Cadalso of the Glasses. The community of Madrid. Spain.
- Work escultórica. The ‘C' of Cadalso. City Hall of Cadalso of the Glasses. The community of Madrid. Spain.
- Gallery Rina Bouwlen. Madrid. Spain.gallery Saw-art. Directed by Montse Saw. Barcelona. Spain.
- Obligatory Direction. Albacete. Spain.

Francisca Blázquez is one of the most impressive contemporary artists I know. Her work starts by analyzing the reality and thinking about possible worlds. Posible ways to change reality, to re-create a status of living our everyday life. And she makes this research using 3D modelers and all new technologies we know. After thios first experimentation, she Animate her virtual reality. Because of she has a great curriculum as dancer, she has the key to express feelings emotions passions and movement in the best way. I love her videos. So, from body to virtuality, from reality to digital, Francisca tell us her personal way of thinking about life, of thinking art. Contemporary art, that today, has too many problems of expression. As curator and as artist too, I think she will show us all the wonderful possibilities of contemporary art-world and her reserarch will continue to find new styles and ideas. As all great artists of the history.

Luca Curci - Art director Non Stop

Francisca Blázquez, Creator of "the Dimensionalismo"

Francisca Blázquez, multidisciplinary artist, works in painting, sculpture, engraving, conventional photography, digital photography, experimental retail jewelry, drawing and in technology in Three D (Three Dimensions), carrying out with this last one, Net.Art and digital creations that lately are expressed on diverse backgrounds. Likewise, Francisca carries out creations and expositions which combine movement, "cinetismo" and compositions using space with energy and a dimensional approach.

Her painting concentrates on utilizing contemporary geometry that has evolved until, in 1998, she created "the Dimensionalismo", based on the beating of known dimensions to date to be interested in speaking of the multidisciplinary and multidimensional, in which no limits exist.

Francisca works in the transformation forms –through color. The form is the structure constituted by the color that establishes a theory of opponents as they have employed tone, organizing perspectives, compositions that, still being planned, tend to be spacially geometric and lean toward a consolidation of multidimensial diversity as an axis of their speech.

Francisca's tendency toward the dimensional increases in her work in the technology of Three D (Three Dimensions) by computer in which she establishes a multiplicity of dimensional approaches, in her work on Net.Art and in her multiple digital creations expressed with "metacrilato" and industrial canvas, fundamentally. These creations are structured around a formal facility that the artist presents in such a way that configures a gifted composition of permanent movement, in which the forms are always being transformed.

This is a start but not an end. That is to say that the works remain open to new transformations.

The artist feels that her contemporary dimensional art is not to be closed to finished and perishable products. Art for Francisca Blázquez is multidimensional and eternal, in the sense that the creator can always intervene in it and when this is carried out there is a transfer in the step of time in who takes charge of forming a creation. For that reason her work, conceived in the technology of Three D, ia a product of a complex elaboration, feverish and elegant, where "superponiendo dimensions" and the creation experiences are full of constant changes, being transformed from am aforesaid form into new configurations, given that art cannot be a closed concept, such as the end product of a compact car.

For that reason art's speech evolves from the limitations of the background, of the contained conventionalisms in its own parameters of the plastic disciplines Francisca utilizes, toward a creative conception in which a transformation inherent in its own work is produced, that the artist calls "Dimensionalismo" and that we verify, especially, in its digital artistic animations.

Joan Lluís Montané. (JLM) Of the Associació Catalonian of Crítics d'Art, of Madrid Association of Critics of Art, Spanish Association of Critics of Art and of the International Association of Critics of Art.

Geometry and rigor on the basis of sensibility. About Francisca Blázquez

Even thouhn all different tendencies are much more deeply related than we initially supposed, we commonly talk about geometry as one of the very basic directions for the arts of our times, as well as one of the best known branches-besides Expressionism and the superreal-which have contributed to configure art.

From within this orientation exists, since the beginning of the century, a very clear objective to reduce ir to almost nothing in the searchings for a ‘genuine’ art that could be painting –or any other medium-; and also proposals which usually include an expressive doses through color, neither limiting this to the use of primary colors and non colors –as the neoplastic did –and with a treatment instead of major range and sensibility.

I personally think that Francisca Blázquez is keeping the opening of those two possibilities in the whole of her artwork, in a kind of synthesis and progressively she seems inclined to the very first, without losing contact with a human and creative touch.

Francisca Blázquez artwork develops contrasting effects, through the use of complementary colors –red ad green-as well for luminousness. She likes wholeness and intensity. I must say she does not reach –perhaps she does not want to- the absolutely minimal estates in morphology which are easily perceived.

Though some complexities, above all for oblique dinamics to which she adds curves and straigth elements, excel elementality. She escapes equally, with no excess from the simple red-yellow-blue with black and white.

The artist allows diverse alternatives and suggests visual elegance. So it seems to the viewer.
Whom either glimpses or looks for a hidden symbolism.

The personality of the artist gets its proportion in between two attitudes. One which imposses a deep request to the eye, though it knows how to calm it; the other a vitality of movement and the peace of the stable, a tranquil poetry. Like the surface of deep waters, a curve of the Earth from above or a horizon where the sight rests.

Ángel Azpeitia. Former President of The Spanish Association of Art Critics.