Zaragoza, Spain, 1975


Begoña Morea Roy insists in her most recent works on the tracing of an emotional cartographic system through a subjective, fragile and vulnerable calligraphy. The organic development of her tectonic collages, made with the remains of papers, requires a very close look in order to be able to see through the folds and holes. It is the experience of an action open to multiple developments of generation, accumulation, proliferation, juxtaposition and digression.
All these effects occur in the compositional flow of her works and they are the part of a cyclical transformation in the serial sequence, through the relationship she establishes between the different phases of a manual process determined by the choice of papers she cuts, tears, paints, wrinkles and sticks in successive layers. The forms of sinuous limits are allied with flashes of colour whose timbres and intensities emphasise the fragile balance from which these floating structures hang.