Inma Inma Rosillo-Daoiz (San Sebastián, 1962)

Inma has a degree in Information Science from the Complutense University in Madrid. She quickly left her professional career as a journalist to dedicate herself completely to painting and writing.

Her painting sings and celebrates the world, beauty and creation. It reveals the hidden feminine side, the power of water, the analogies between music and painting, the galactic and quantum worlds… It’s an enigmatic, esoteric and magical, enormously vital and luminous painting that establishes a close relationship with poetry. From there is born what we could call “abstract lyricism”, painting seen as “revelation”, but also like the manifestation of complex intellectualized reflections. Among her more frequent themes in her work are the moon, the stars and the world of dreams of the oceans or vegetable. And also Andalusia – as seen in the flamenco, the bulls and horses - and its essence: light, colour, happiness and “duende”. For Inma art is “a vibration of the soul”.

In 1988 she starts to work in the workshop of Santiago de Santiago and after that in the one of the painter Carlos Larrague, where she learns a variety of plastic techniques. Ever since then she begins to exhibit in places such as M&R” (February 1998), “Monte león” (June 2000), “Youtopía” (April 2011), “Espacio Mercedes Urquijo” (July 2012), “Meridiana” (January 1999),”Javier Aguado”… and in the galleries “Sunday Gallery” (junio 2009) and “Pepe Pisa“ (marzo 2013). She participates in collective exhibitions in the antique shops “El Clásico “ y ”Estuco”. Likewise she presents her work in foundations such as “El Flamenco es vida”, “Los panes y los peces”, and Emalaikat, in the “Espejos Palace” of the “Casa de Osuna” in Noja (Cantabria), and in the palace “La bella escondida” in Cadiz. In 2012, she participates in the festival: Women Perspectives, In the centre of art Reina Sofia, through the Centro Cultural of Pozuelo, with her exposition “From the unreal world, from the imaginary world”, curated by Jesús Gironés.

However, Inma creates all her artistic production far from the maddening crowd, from the silence, listening only to her heart, which -as she says- is the only place where you can “create”. Inma considers herself an outsider, a woman that stays beyond the habitual spheres of the art world, like Adolf Wölfli or Fernand Cheval. In some way, Inma lives hidden, isolated, finding encouragement in the lines of Bécquer: “live dark, live ignored, that when your spirit is unleashed. I’ll take it up to regions of light in a red cloud”.

Ever since she was a child, Inma writes poems, and already in her youth she wrote the play in verse “Elhoim looking for Astarte”, a tragedy of nymphs and gods in five acts about the problem of god and immortality. In 2007 she finishes her novel “Back to Ithaca after a millennium” a lyric narration in six cantos and an epilogue.

Another prominent facet of her artistic output is the illustrations. Like her uncle F. Villalon, also known as “The Warlock”, Inma also enjoys painting fairies, magicians, butterflies and trees. Her illustrations recreate a world without time and immemorial, a potent and subtle world.

In conclusion, you can say that Inma’s talent and portentous and vivid imagination turns her into a sorceress and the things she creates are beautiful and magical.

Guillermo Martínez-Correcher