Fondo de galería emphasises processes, gestures and materials as ends in themselves. The works, belonging to artists in the collection, have their own geography but share paths and land, spread out maps and reveal the landscape at the same pace as our footsteps.

In La heredad by Rodríguez-Méndez, boys and girls draw staircases. This is not a technical exercise, but rather the expression of a memory: we climb these stairs to our origins, a memory still fresh in our childhood. Rodríguez-Méndez intervenes in the horizontal lines, ‘the most sensitive areas of the drawing, those that bear the weight of the climber’. He covers them with drops of gold, thus honouring the path travelled since then. The landscape that appears in the rest of the works is not presented as a stable territory, but as a surface traversed by forces, times and displacements.

In Cárcava, Álvaro Negro refers to an eroded landscape, excavated by the action of water, a diptych punished by torrents and shadows.

From an extreme formal economy, the work of Eduardo Martín del Pozo constructs a mental landscape. Through elemental forms and a refined palette of whites, blacks and greys, painting becomes a stage, a space where colour is reduced to reveal its structural condition. The appearance of green acts as an evocation of nature, reminding us that even the most restrained abstraction remains landscape.

The idea of fragment and relationship is intensified in the work of Andrés Rodís, where the pieces are conceived as autonomous units, open to future combinations. When viewed up close, the pieces establish unstable and provisional links, forced to generate a common syntax. As in poetry, the absence of punctuation opens up an intermediate space where forms affect each other; they are thus transformed at the very moment they are placed.

In Sobre lo que resta (On What Remains), Irene Grau reduces painting to its material limit. Ashes collected from forests ravaged by fire are transferred to canvas using indirect techniques, resulting in organic, monochrome surfaces. Painting is presented here as a remnant: of the landscape, of the gesture, and of the process itself.

In Antonio Murado‘s work, attention shifts to the construction of the painting itself. Stretcher bars, seams, tensions and fixings take centre stage, revealing what usually remains hidden. Painting is understood as a sum of actions prior to the pictorial gesture, where the fragility and materiality of the support become carriers of meaning.

The human figure appears in Iris Schomaker‘s work reduced to its essential form. Motionless, faceless figures inhabit spaces that oscillate between figuration and abstraction. Through a process of reduction and graphic accumulation, the artist constructs intimate scenes where the drawing and the surface preserve the memory of the gesture.

Reflection on memory, language and heritage runs through both the work of Sonia Navarro and that of Amparo de la Sota. In both cases, textiles become a visual language that links the domestic with the political, the inherited with the constructed. Patterns, seams and embroidery function as non-normative writing systems, vindicating a slow and persistent practice that connects the act of sewing with that of writing, and places artistic practice in a territory where form precedes meaning.

The works brought together in Fondo de galería thus propose a reading of art as an experience of transition: climbing, eroding, joining, reducing, tensing, embroidering. Minimal gestures that shape common landscapes and invite us to walk through the exhibition as if advancing through familiar but unknown terrain, attentive to the traces.