Moreno’s works are expressions of movement in liquified forms. In each of her paintings, splashes of colors find their way through numerous layers of paint.

At different stages of her artistic career, she focused on circles, spirals, and geometric forms. Now she lets the paint dance on the canvas in a full expression of abstractionism. Moreno allows the liquid enamel to follow its own course over the acrylic background while altering the natural flow by moving and balancing the canvas. The resulting trace stems from a controlled coincidence and creates organic shapes that characterize her new body of work.

With large gestures, she executes color explosions on the canvas, while recurring black and white elements dominate the central area of her paintings. These repetitive motives are however never identical.

Her compositions lead the eye over curves and lines into an unknown space beyond the

boundaries of the canvas, absorbing the viewer into the movement of the work.

Since the beginning of her career, she has constantly reinvented and deepened her painterly language. She challenges the boundaries of painting by combining different techniques and engaging colors and forms within an abstract game.

Felicidad Moreno was artistically trained in Madrid. Her work focuses on abstraction based on color and matter and moves between geometry and gesture. She belongs to the generation of painters born around 1960 who began to show their works in the mid-eighties, a time when there was a revision of expressionist abstraction. In her pictorial language forms of intimate, feminine and “gender” resonance coexist with chromatic gestures, vegetal motifs and strict geometry, the latter often being of linear character, developed in knots or rhizomes, circular or spiral and understood as repetitive units.

Geometry will find its plenitude in the luminous outbursts distilled by the circles and spirals of her works from the early 90's; a geometry that will increase in prominence, as seen in her series hipnÓptico presented at MUSAC in León in 2006. There, she transforms her own pictorial production into a simulacrum by using the digital image and the canvas support, translating her paintings into liquified forms and spirals of a kinetic character. - Loosely translated from “Bajo la piel/sobre el cielo“ by Rafel Doctor, 1997