Eva Jurado
Artist and art historian. Her research focuses on the Fusion of Art and the Science of Light; her painting, on the experience of light within water.
Biography
Eva Jurado (Barcelona, 1977) is an artist and art historian. She holds a degree in Fine Arts from the University of Barcelona and bases her research on the Fusion of Art and Science, with a thesis on the study of light in holographic, kinetic and holokinetic art. For years she has also worked as a researcher of eighteenth-century Spanish painting, specialising in Goya's early period, work she continues today, collaborating on studies of the master's early works and coordinating their historical, artistic, scientific and documentary analysis.
Her interest in the behaviour of light in art was forged through experiences with a strong scientific component. She took part in a programme at ICFO (The Institute of Photonic Sciences) devoted to creating methods for teaching the foundations of photonics and quantum physics through art, and for several years she was a researcher at the JC Art and Science Laboratory (Switzerland), whose galleries in Sitges and Andorra she directed.
That path, together with the study of the great masters of Spanish painting, taught her to unite the rigour of scientific research with studio practice, and gave her an experiential understanding of light:
Not as an effect, but as a living poetry organised in layers.
In 2021, the desire to create with her own hands led her to investigate the behaviour of epoxy resin. Her work spans a wide range, from expressionism to hyperrealism, and is usually born as a commission. In just a few years it has achieved international demand and reach, with works delivered to Spain, Portugal, France, Germany, Italy, the United States, Norway, Canada and the United Arab Emirates, and it is now sought after with a waiting list of up to seven months.
Eva is also an international reference in the teaching of ocean art in resin: her academy has trained more than a thousand people, with students in thirty-one countries. She is the creator of all the techniques and the author of all its courses. She has given lectures on the relationship between Art and the Science of Light and has taken part in various national and international exhibitions.
In a very short time she has established herself as a leading figure in resin art, recognised as much for her work as for her teaching and research.
Art in resin
Over time, Eva developed a technique of her own, capable of integrating a three-dimensional sculptural texture into the resin. Sands, woods, stones and natural elements emerge in relief on the surface, so that the work reads as painting from a distance and as sculpture up close.
She has a particular predilection for large format, rare in resin because of the difficulty the scale imposes. Very few artists produce monumental work in a single piece of this material, and it is there that her work reaches its fullest expression. Each work is unique: it is never editioned or reproduced, and all of them include a certificate of authorship.
Artist statement
All that experience flows into a simple, persistent idea: that a work, like a life, is built layer upon layer of light and darkness.
Eva calls this patient accumulation of strata of light and opacity “chromatic depth”, and in it lies the meaning of her painting. She does not merely depict the ocean: she builds the experience of light within water, working with what she calls “liquid light”, superimposing layers until she reaches depths that no other material allows, so that each piece ends up being, quite literally, a chromatic biography.
The metaphor is no accident. Just as a desert plant, forced to endure in arid and hostile ground, generates new creative capacities and medicinal properties, a living being that passes through and overcomes challenging experiences develops, layer by layer, a deep biography. In the same way, an ornamental plant grown in easy soil, or a life without experiences, produces a flat biography, without new creative properties and without chromatic depth.
Her landscapes of water, earth and light are born of that same conviction: only true depth, the kind laid down layer by layer, is living luminous poetry, capable of transformation. That is why her seas are not just a landscape: they are seas of existential depth, like life itself.
The work and its space
The work is completed by two essential elements: the interior that houses it and the gaze of the viewer.
Eva conceptually integrates the gloss and crystalline reflection of the resin, which allow the outside world to become part of the piece: it gathers and returns the reflection of the interior and of the light around it, until it enters into symbiosis with its surroundings and becomes a total work of art in motion. And it also returns the reflection of whoever contemplates it.
Thus two oceans coexist in each piece: the outer one, made of water, earth and light, and an inner one, that of the memory and emotion of the person looking.
The work does not simply hang on a wall: it becomes a living part of the place, and pulses with the light that moves across it and transforms it as the day goes by. No photograph can match it: its depth, its gloss and its vibration of light exist fully only before the real piece.
From the very beginning, Eva has approached resin as a field of research. In her studio she develops and creates new techniques for fusing the material with sculptural textures and reliefs, and over the years she decided to share that knowledge. Together with her family she built, with great attention to detail and great affection, the space she would have liked to find when she was starting out: training, materials and guidance in one place.
That is how Green Maiden was born, where her technique is now taught to more than 1,000 students.
