The reinterpretation of painting as an artistic matter underpins the creative stimulus of Arancha Goyeneche (Santander, 1967). For this, she uses materials traditionally foreign to this discipline, especially those from the industrial world, such as adhesive vinyl, PVC, photography, fluorescent or projections, among others. Although the pictorial support is questioned, in all of her work beats an intimate defense of painting, a duality between tradition and modernity that fundamentally respects the classical postulates of artistic creation. In this sense, the artist tries to keep alive the search for the traditional painting values of perspective, color, glaze, light, volume and illusion of movement through the successive superposition of layers of color along with materials of different nature. One of the qualities of Arancha Goyeneche’s work is its installative nature. Sometimes the wall becomes a large white canvas where she expands all the fragmented material, turning the pictorial practice into an almost sculptural work, full of relief and movement. Other times, the use of fluorescent chromatic light causes the physical limits of the work to be even more imprecise, xpanding the color through the room, the ceilings, the floor to finally impose itself on the viewer. For all this we could speak more about pictorial space than pictorial surface.
The artist has realized individual exhibitions at the National Museum of Altamira, the Barjola Museum, the Santander Art Museum, El Brocense Gallery, CAB, the Revillagigedo Palace or the Embarcadero Palace. In 2019-2020 her exhibition “Shared places” traveled to the different headquarters of the Cervantes Institute in Morocco: Marrakech, Fez, Casablanca, Tangier, Tetouan. In 2019 she won the Rambleta Research and Production Grant (Valencia), creating the installation “Oasis y Desierto” for the exhibition hall. She has participated in group exhibitions dedicated to new pictorial practices such as “Pintura sin Pintura” curated by Javier Hernando, “Pintura mutatante” by Ignacio Pérez-Jofre or “Video killed the painting star” by Javier Panera and Paco Barragán. His work is represented in public and private collections, highlighting the North Collection of the Government of Cantabria, Botín Foundation, L’ORÉAL Painting Collection, Unicaja, Parliament of Cantabria, the Santander Art Museum, Ministry of Social Affairs, Complutense University of Madrid, Casyc, Santander Chamber of Commerce, Junta de Castilla-La Mancha, UNED, Caja Burgos Collection, Official College of Architects of Cantabria, Cáceres County Council, Cajastur, DA2 Salamanca, Ernesto Ventós Visual Odor Collection, Los Bragales Collection, Tranche, Lafuente. In 2020 she received the Cantabria Plastic Arts Award.