With her recent works, Marina Núñez invites us to reflect on how our subjectivity and our lives are affected by the interferences between the human and the technological that are produced more frequently each time. A constant in her work is the representation of aberrant, different beings, those that exist on the fringes of the canon. The anomalous bodies that populate her paintings, computer graphics or videos speak to us about an identity that is metamorphic, hybrid and multiple. She recreates an unstable and impure subjectivity so that otherness is not something alien, but that basically constitutes the human being.
Thus, her hysteric women, medusas, mummies, monsters or cyborgs —though they belong to the territory of the outcasts— do not seem to be distant but can affect and identify with us. And her images are perceived as slightly deformed mirrors that suggest us that madness or monstrosity are simply a question of degree.
The work of Marina Núñez (Palencia, 1966) is part of important Spanish and international public collections, and has had wide diffusion within and outside the artistic circuit, with several exhibitions in prestigious art centers and galleries in Europe, Latin America and the United States.