Marta Juvanteny — 2024–present | Threshold i pintura sistèmica

2024-2026

THRESHOLD: BEFORE BURNING 2024-2026

Today, from another distance, this threshold is an point that does not yet burn, but invites us to listen.

The saturation of information turned practice into an obsessive laboratory, layer upon layer, until emptiness and doubt became a creative engine.

Threshold is the instant before combustion, an open and undefined space where form does not yet exist but its appearance is imminent.

It is frontier and persistence, a place where the work reconfigures itself and subjectivity is strained.

Today, from another distance, this threshold is a glowing point that has not yet burned, but that invites —or perhaps pushes— something to detach

“When the voice loses its origin, the author enters their own death.” — Roland Barthes

It is at this symbolic point that I now find myself: on the edge of more than two decades of practice, looking at myself as if I were someone else, an explorer of the abyss.

This threshold is both frontier and suspicion, a space of doubt and persistence, a place where my work reconfigures itself and I become a trace. From this edge, still incandescent yet intact, arises the need to share.

Marta Juvanteny’s pictorial practice is clearly situated within a lineage of analytical and systemic abstraction. It is grounded in a rigorous grammar of line, rhythm, and spatial stratification that engages with the constructive tradition, while opening toward a contemporary sensibility linked to the aesthetics of information, expanded cartography, and data visualization understood as a poetic metaphor.

Her painting does not operate as representation, but as a relational model. Each surface is constructed as a field of forces in which visible structures suggest invisible systems: networks, infrastructures, energy flows, and circulations of memory. The grid, vertical vectors, and superimposed layers function not only as formal devices, but as instruments of thought.

Within this framework, a sustained tension unfolds between structure and dispersion, between an almost architectural verticality and an organic cloud of particles that seems to overflow it. This friction generates an unstable yet balanced space, where control and entropy coexist without cancelling one another out. Order is never absolute, and vibration is not chaotic; both poles are articulated within a continuous relational dynamic.

This hybrid condition places her work in dialogue with contemporary abstraction, expanded minimalism, and systemic painting, as well as with practices that engage technology, urban thought, and an ecology of systems. Painting thus becomes a space for reflection on the structures that sustain the present and on the sensitive dimension that continues to traverse them.