The work of Carmen Laffón expresses her personal attachment to nature, and particularly the environment around Sanlúcar de Barrameda, opposite Coto de Doñana, the place where she started to paint and the location of the family farm where she lived on and off throughout her life. In the last decade of her practice, Laffón had redefined her landscapes, depicting the borderline spaces between land and water, skylines, places where the atmosphere is vaporous and produces reflections and vague forms, such as the series in the Bonanza salt marshes in Sanlúcar, to which the eight polychrome bas-reliefs displayed in this room belong.

The uniqueness of the motifs represented — abstract, geometrical salt pyramids and their reflections, divided by a low horizon, as perceived from her studio — lend these works, inscribed in the traditional landscape genre, a contemporary quality. In the room, the idea of a film sequence and the installation with which the artist conceived the piece have been respected, thereby strengthening the fragile nature of the materials and the inevitable association with the brittle state of the present time, while the images and their sandy materiality appear on the verge of disappearing. This rounded modernity in Laffón’s work also comes from the honesty with which she approached painting and sculpture and her respect for Seville’s baroque tradition — with the whites that resonate in the tonalities of her salt marches and, previously, in series such as that devoted to lime — and the profound knowledge the artist possesses of twentieth-century abstract painting, the traces of which underlie her figurations, geometricised forms and the unique reference to human absence.