Eva Solano

Eva Solano

Artist selected by Vidal, Roberto at 2011







I use sketching and drawing in all its aspects and forms. Pens, markers, acrylics, stickers, photographs, recordings and even my own body. For my work I start with the minimum. With a line in any of its forms of expression, a parallel, silent but certainly not timid discourse. Boldly determined to amplify a discourse.
A discourse that starts with what I have closest to me, the everyday, and is used like a jigsaw regardless of the nature of the object to hand.


In this way I use constructed pieces, people and everything that lets me organise a thought. Fluid thought that isn’t tied to any project in particular and flows through my experience producing meaning like a chameleon.


Eva Solano
Sta. Cruz de Tenerife, 1974
Vive y trabaja en/Lives and works in: Madrid.


Formación académica / Education


Máster en Arte, Creación e Investigación, Universidad Complutense, Madrid.



Beca Sócrates, Berlin.



Licenciada en Bellas Artes, Universidad Complutense, Madrid.



Beca Erasmus, Hochschule der Künste con Rebecca Horn, Berlin. 

Exposiciones individuales / Solo exhibitions
Collar de perro, Espacio Garcia Madrid.

Exposiciones colectivas / Group exhibitions

Coloréame, mural, Sala de Arte Joven, Comunidad de Madrid, Madrid.

Imprografía, mural colectivo, Off Limits, Madrid.

I love your work, Espacio 8, Madrid.

Mañana en la periferia, La Eriza, Madrid.


Libro, Galería Mad is Mad, Madrid. 

No somos malos nos dibujaron así, Galería Mad is Mad, Madrid.

Swab 2010 International Contemporary Art Fair Barcelona.

33, Swallow Gallery, Barcelona.

Proyecto Marco, Factoría de Arte y Desarrollo, Madrid.


Showroom, Galería Plano B, Granada.

Lam 09, Galería Fastcool, Madrid.



Odisea espacial, Galería Mad is Mad, Madrid.

Normal day life, Galería Mad is Mad, Madrid.

Mural, El Beso, Madrid; Casita de Wendy, Madrid.

Exposición dibujos, Galería Max Luz, Madrid.

Alles zusamen, exposición de dibujos Area, Madrid.


Geografía salvaje, mural en el hall del Teatro Pradillo, Madrid.

Tleben-Asado monstruoso, Jornadas sobre Arte y Comida, Sala Carlos III, Universidad Pública de Navarra, Pamplona.


Deseo, Madrid Cerrado, Galería Ojo Atómico, Madrid.


Discoverychannel, Galería Los 29 enchufes, Madrid.


Ex-situ, Garaje Pemasa, Madrid.


Indoorgames, Klasse Rebeca Horn, Berlin.


Actividades académicas relacionadas / Academic related activities
“Pequeño editor por un día”, impartido junto a Roberto Vidal, Sala de Arte Joven, Comunidad de Madrid, Madrid.

“Dibujo tres”, Sala de Arte Joven, Comunidad de Madrid, Madrid.

“Dibujo tropical”, Sala de Arte Joven, Comunidad de Madrid, Madrid.

“Dibujo+”, Sala de Arte Joven, Comunidad de Madrid, Madrid.

“Dibujos mutantes”, Festival La Noche de los Libros Mutantes, La Casa Encendida, Madrid.

“No.Zines”, comisariado por Roberto Vidal, D_Fest, Matadero Madrid, Madrid.

“No.Zines”, impartido junto a Roberto Vidal, Aranjuez.

Docente en Instituto Europeo di Design en materias de color, dibujo, ilustración, propedéutica y diseño gráfico.

Publicaciones / Writings

"Eva Solano en la Ciudad", Metal Magazine, entrevista personal por Roberto Vidal, 17/IV/2009.

Catálogo INk 01 Ilustración contemporánea, 01/III/2009.

"El mundo está Mad", El País, artículo de opinión Ruth Toledano, 03/X/2008.

LeCool, entrevista y dos portadas para la revista digital, 29/X/2007.

"Paredes de geografía salvaje", Pasajes Diseño, artículo en el que se muestra el trabajo realizado en el Teatro Pradillo, texto por Valentín Vañón.

Formación académica / Education


Dirección de Arte, Aula Creactiva, Madrid.


Curso "Grafismo en movimiento", La Casa Encendida, Madrid



Beca para el curso de verano ¿Arte=Diseño=Arte?, Universidad Complutense, Madrid.

Ciclo de conferencias Nuevos Medios y Cultura Visual, Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid.


Curso de Apreciación de Arte Moderno, Círculo de Bellas Artes, Madrid.


Montaje exposición retrospectiva, Annette Messager, Museo Nacional Centro de Arte Reina Sofía, MNCARS, Madrid.




1. What made you choose art as a profession?
I’m not sure I’d call the art work I do a profession. I think what I do defines me in another way and in my case there’s not always an economic exchange. There’s no alternative. It’s not a choice I made; there’s nothing else I can do. It’s what creates my life and it’s what I’ve worked on the basis of, sometimes more successfully than others.


2. How would you define your work?
As a process, something under constant development, always unfinished. Something that helps me understand and carry out my small searches.


3. What subjects are you interested in?
I’m interested in playing with strange things disguised as everyday. I’m interested in what I experience, the moment – how I reinterpret and model it to turn it into something of interest to me.


4. What resources – formal or otherwise – do you use in your work?
I generally work with drawing, which is simply a medium that lets me work very directly, without any intermediaries. But I also like having fun and experimenting with other things.


5. What relationship does your work have with reality? What are your raw materials?
Everything and nothing. Apparently you can see a simple reflection of my everyday life, an engaging way of reflecting what I see, but nothing could be further from the truth. It’s a huge setup I like to stage and play with to create the contents I want.


6. What, according to you, is the point of art?
To create, investigate, a sphere of freedom. It’s the only area that lets me do what I really want.


7. How do you hope the public will receive your work? What audience are you aiming at?
I hope they have fun; I want to entertain. My dream would be to be as viral as a pop song, to not be contained within a special sphere or limited to a given audience. That doesn’t mean dumbing down the contents or not being committed to what I create.


8. What qualifications have you got? What do you value most from your time in education?
I studied fine art at the College of Fine Art in Madrid and had the chance to escape to Berlin for a year and a half. I recently finished a master’s in art, creation and research at the College of Fine Art in Madrid. I value lots of things from my time in education: meeting teachers who believed in my work, which is key at the start; certain fellow students who accompany you on that endless search; and teachers and subjects that, like good books, become windows that open spaces. This set of influences may lead you to embark on what for me is an adventure that never leaves you. Getting involved.


9. How would you define your current professional situation? And in the future?
Like many other artists, my professional situation is chaotic. I’m always doing a thousand and one things that most of the time have little to do with my personal work just to be able to produce things. This can make it a struggle to keep working continually and stick to a given line. I think grants and support for creation are a good idea, but if you can avoid depending on them and work with your own resources, you have tremendous freedom.


10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
It clearly has a bearing. You only have to look at the art world and compare the output of people who have consolidated their position and others who haven’t. Personally I don’t believe you need a major investment to produce interesting things, but you do need time and today time is money.


11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
So far, very few difficulties. I look for dialogue, respect and understanding. No one should be subject to anyone else’s vision.


12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I think it’s getting more and more active, with spaces that are moving away from traditional models. The problem is their own survival, getting them to become powerhouses of ideas and bringing all areas on board.
On the downside, the feeling of being closed and restricted to a certain few.