When we talk about a hybrid cultural heritage we must logically focus on the parts that constitute it, in the case of the visual artist Carla Garzón, we see how in her works various concepts inherent in the painting and the hybrid heritage that she possesses intermingle. That is why we see how her figuration possesses a character that I will call pop-cultural, in which in some of her series especially faces a compositional game of figure and background is marked where the contours perfectly delineate the compositional spaces of the work. The color on the other hand in all its richness and splendor, marks the positive energies that each of them possesses. Her paintings radiate a wealth of energy, where the impassive faces often do not hold the gaze towards the viewer but avoid it. When we talk about nature and human being in her works, the relationship changes and is the body that integrates to the bottom in a dynamic, not of competition but of compositional collaboration. When the tree appears we see how she acquires a leading sense with dynamic lines of composition in a certain expressionist sense; the tree becomes a path that guides the linear construction and on which all the dynamics of the stroke and the gesture that Carla exerts on the canvas and in its series of animals the ironic and game sense is presented with subtle strokes of irony and jocosity, world of colors, game world and world of pictorial creation with all its richness.
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