ZAMORA, 1955 Tomasa Martín

Puede parecer que todo respira quietud y que nada se mueve. En realidad, sin embargo, hay un pensamiento en constante actividad hacia la perfección del espíritu.

Creator of a personal surrealism, part of what surrounds him, but with a will to project towards infinity in a fully participatory way.


In 1974 he moved to Barcelona where he studied Fine Arts at the Massana School. At the beginning of the 80s he began to make exhibitions in the cities of Barcelona, ​​Madrid, Malaga, Valencia … Later he exhibited in France, Finland, Germany, Portugal … as well as in the US and Dubai. Since 2000 he works with galleries in Japan, which forces him to travel often in the country. Throughout these years he has made more than 200 exhibitions between individuals and groups.

He has published two books about his work while he has made covers for a thematic book on the clock, for a textbook of ESO and the book apples to Laura, perhaps. His work appears in about forty books, among which we can highlight La ruta del Cister and more than 130 publications.

We find his work in the main collections of the world and institutions such as the Government of Catalonia. Between the prizes that it has obtained they emphasize the prize of painting Juan Ramón Masoliver and the prize of painting Valentín. He has participated in various radio and television programs in Spain and Catalonia, such as the television program Continuará. Numerous critics and personalities of culture have written about his work.


by Josep M. Cadena

The practically empty study, with the light that enters through the window, is like the mind of the artist who is preparing to receive sensations that will help create the concept. And the piles of books, arranged in a column that rises towards the sky or establishing with its horizontality a well-founded way of thinking, are the knowledge that awaits us.

In this way, the painter, Tomasa Martín, tells us that any novelty is possible if we know how to take advantage of the permanent graces of what we have so much that we have no interest in (our own ability to be very original in thinking) or what that seems unattainable to us as it is the magic mystery of the culture always in constant evolution.

The helical shape of the univalve shell of the already fossilized screw gives us the sensation of life and the intimacy of a sink-a secret place full of light-reminds us that nothing that is repeated is exactly the same and that the rites are due perform conscientiously so that they always look new to us. That is also why the pencil to draw and the eraser, tools representative of a trade that serves artistic expression, are the plastic metaphor of existence, since the facts disappear and the idea remains.

Tomasa Martín’s painting is of poetic ideas; that is, concepts that express the continuity of the human being as interpreter of their environment and as a search engine for the superior situation of the spirit in relation to matter. Creator of a personal surrealism, part of what surrounds him, but with a will to project towards infinity in a fully participatory way. That is why her vision is broad and generous, open to the diversity of situations that we can share with her to find ourselves without any kind of anguish; on the contrary, with the joy of discovering a broad and ever growing capacity to understand the harmony of what we always have within reach.