"Sometimes the domain of pictorial technique proves to be the main argument to judge a work, others, however, is knowledge of what works or not in composition, or combination crom policy, or lumnicos effects that give the picture of your volumetray depth, responsible for a visual appeal that has become the greatest cause for appreciation, but is less frequent than the paintings get beyond all those once reached estimates the scope of the formal to stand at the suggestion of emotional / intellectual. aquprecisamente where is located the plastic Jimnez Natalia Baeza. In its production, which dominates the I read, but sometimes also deals combinndolas-other techniques such as charcoal drawing or etching, is unquestionable originality of themes, so intensely explored in a monographic series revolving amplsimas around mainly two recurring issues: rocks and landscapes urban. The first, a ptree lifes that seem to come alive through the skillful work of composition, chromatic and lumnico with which they are raised (so different in each case), there are only a pretext for develop interesting games thanks to a plastic filled with forceful execution of stunning formal and tonal effects, but after a sincere and concerned expression achieved nothing beyond this first level of feelings parent to go into other aspects related ms thought. Spectral rock slides against rocks, pebbles logic controller in front of emotionally charged songs, explosive rock and proud against fearful and elusive stones, or exhausted to carry the weight of knowing due to the futility of chance that has been placed in deepest amount of volatile ... As urban views, converted into a new and eternal struggle of giants of the concrete, the cities seem to reflect the conflict being, the existential problemtica that makes us question whether we should accept no more the feverish reality show sometimes, or if conjuring chaos through the paint and subverting all you have to accidentally make sense IDUs to a growing reality and alien crptica ms, despite its immediacy. As in the dream of a modern Ulysses, always out of Ithaca, NJBaeza conceived in his mind a thousand cities that never belong to him, and he vainly tries to persuade them a thousand times acercndose also to take security that is not the light of mediodao the twilight or the people who throng the streets because of the hipottica metamorphosis. If to escape from Polyphemus, the hero was called No-also being astodos us outside these cities are definitely ours, and variations in case of each, their different perspectives our different points of view , and their reflections of ourselves in the others. So the skies of tables are obfuscated in others, and are startling and disturbing when filled with textures and effects much more risky than usual nebulous to use games, gaining strength and prominence in part due to execution so determined to base strong brushstrokes, but also for the successful combination of harmonies and contrasts in the background, is the search for the porqude the nature of things, which highlights the reflexive character the author and his willingness to paint experimentaciny field vehicle of expression. Any references to anecdotal or circumstantial of urban scenes, which sometimes include characters nameless, not-even remotely-represent one approach to a view that might remind the manners attitude, so prevalent in other artists: descriptive only its charge from the desire to humanize certain areas and to link human nature significantly hermetic and depersonalized the cities that suggest some of these urban views, in which one guesses the broken profile crystallized inside a huge geode, prefatal unknown and which moreover is located parallel to the leit-motiv of the games modular stones. A risky guided the viewer that aims to dramatize its conceptual content, knowing that a certain spontaneity msmnimo approach might involve a concession to some as trivial, OF ANY way is just not want to . ASPU, these two themed, in its apparent dichotomy, find a links that sublimates its contrary nature, then become a paradoxical discourse. The inert character of contrasts with the usual liveliness of the other, natural versus artificial, mineral face antrpica, organic and spontaneous prismtica one side and the other irrational, small to against large homognea or heterogeneous, and insignificant compared to rotunda. After the opposition of all these anti quizpodamos find arguments that raise questions as in the mayutica-leading, if not the truth, get less to find a convincing explanation of reality. She then flees the mimtica representation of objects, probably convinced that it is not in the story of their details which are the keys that make what is perceived in meaningful idea, his painting has a clear ra z conceptual, which is evident in the lack of content from a unique perspective to objectively interpretation. All of which shows a preference for freedom and unbiased analysis of reality, not based on a predetermined speech but on the suggestion to go into the reason of things. Their titles, sometimes arbitrary By the way, or Numerical and therefore also neutral estn also full of sense sometimes ironic, and often offer asclaves that invite the viewer to delve into another reality ms allde the surface of the elements described, and that relates to the paradoxical thought which, rigging seemingly unrelated facts, get to do much more complex content EXPRESS that transcend its apparent simplicity only figurative. Matter and motion (space + time) / thought. Equation which is solved definitively in the personal and paint enrgica Natalia Jimenez, where the strength of the figures, subject to the command of color and light, it is ephemeral, fleeting, and eventually dissolved in its very essence, that is the life force that pulses in any reality and that is expressed by a boundless creativity, using plastic endless resources for the benefit of the necessary autonomy of art. We, therefore, as the wide production of the author in addition to admire its originality and enjoy a brilliant execution, can serve in the search for certainty, which is supported and justified by the desire to know who is behind the mental images they project our ensoaciones. "Javier Ordoñez Vergara Professor of History of Art University Malaga