Fina Miralles studied Fine Arts in Barcelona. She then spent time in South America, France and Italy, before settling in Cadaqués (Alt Empordà) in 1999. Her first actions, at the beginning of the seventies, place her among a group of Catalan Conceptual artists concerned with nature, involving elements such as trees, earth, water and the artist’s own body. With great simplicity and forcefulness, they emphasise the dialogue between nature and artifice, while displaying a social and political critique in the context of the end of the Franco era, touching on themes of totalitarianism, patriarchy and violence. At that time, she participated in the founding and management of emblematic spaces of contemporary art such as the Sala Vinçon, Barcelona, Sala Tres, Sabadell, and Espai 13 at the Fundació Joan Miró, Barcelona. In the eighties, as a result of her travels, her pictorial and graphic work was marked by a search for spirituality, with lyrical gestures and signs inscribed with a restrained simplicity. After the Millennium, she returned to action and performance art as a dialogue with the land, sea and the rhythms of nature. In recent years, she has published some of her poetry.
Her early solo exhibitions include those at Sala Vinçon (1973, 1974), Museu de Mataró (1976) and Galeria G, Barcelona (1977). In later years she has exhibited at Museu de Sabadell (2001) and created several interventions for the Trobada Internacional de Poesia d’Acció i Performance, La Muga Caula (Alt Empordà) (2012), the Nadala (Christmas installation) at the Fundació Joan Miró, Barcelona (2014), and Museo Arqueológico Nacional, Madrid (2016). She has work in the collections of the Museu d’Art de Sabadell, Museo Reina Sofía, Madrid and MACBA, Barcelona.
Gold does not take on any dirt. And gold, just are diamonds, is an exalted material. It possesses such a degree of abstraction that it encounters you –if you use it artistically– on an already exalted level.