The concept of subjective colors was developed by Johannes Itten to formulate a unique theory based on chromatic interactions, suggesting that the physical reality of colors is less important than the effect they produce. For the Swiss painter and designer—a professor at the Weimar Bauhaus between 1919 and 1923—the profound impact of this phenomenon is perceived and experienced by each individual in a personal and emotional way, shaped by their own history and cultural background.

Florencia is a collector of colors: from her travels, she brings back visual books, catalogs, and swatches. From her photographic records, one can discern a greater interest in the captured palettes than in the landscapes that contain them.

This series of oil-painted abstractions brings us closer—in a veiled and poetic manner—to the artist’s introspective universe, expressed through a chromatic key. The movements of color condense into organic shapes that take on qualities of either weightless lightness or concrete planes. Figures appear suspended, coupled together, or adrift in a smooth, soundless magma. They are pieces of a whole, demarcations of an imaginary map where each color governs itself by its own laws. Florencia invites us to contemplate, to surrender to the sensory weight, and to lose ourselves in its joyful collateral effects.

We know that abstract painting never offers certainties; that is its very nature. The paradox of a secret language expressed through a stimulating and vital palette triggers the exercise Itten alluded to in his theory. It is not about "understanding," but about heeding one's intuition.

Color, temperatures, and forms cooperate with one another, articulating delicate combinations inspired by nature—yet they evoke other resonances: an air of familiarity, the hazy memory of a lived experience.

Florencia’s subjective colors draw us into our own subjectivity, gifting us the opportunity to lose ourselves in a language we may not use often, but which does not feel foreign to us.

— Laura Quesada