VENICE — In the flickering twilight of the Venetian lagoon, where the boundaries between water and stone have blurred for centuries, a new exploration of the elemental is set to take root. On December 12, the historic Palazzo Albrizzi-Capello will open its doors to “Sculpting My Universe,” a solo exhibition by Spanish artist Blanca Martí. Curated by Luca Curci and presented by ITSLIQUID Group, the showcase arrives as a centerpiece of the 23rd Venice International Art Fair, promising a profound meditation on the intersection of the earthly and the infinite.

Martí’s work does not merely depict the natural world; it attempts to inhabit its very pulse. For the artist, the act of creation is a spiritual necessity, a process where matter serves as a bridge to the invisible. Her palette is not composed of mere pigments, but of the fundamental components of existence: water, sand, light, fire, and metal. In her hands, these elements are transformed from raw materials into a living language of the soul.

“My source of inspiration is nature and feelings without justification,” Martí says of her process. “In it, I capture sensations, dreams… The encounter of the earth with the cosmos, the infinite.”

This rejection of “rational justification” is precisely what lends her work its visceral power. In an era often dominated by hyper-conceptual and digital art, Martí returns to the tactile. Her canvases function as “sculptures of the invisible,” where the pictorial gesture becomes a physical carving of space. The surfaces are thick with layers of material, shaped by fluid, instinctive movements that evoke the geological shifts of the earth and the ethereal glow of nebulae.

There is a distinct rhythmic quality to the collection, a balance between the weight of material strength and the ethereality of light. This sense of form and movement is no accident. Martí’s extensive background in the fashion industry has clearly informed her ability to translate abstract emotion into visual signs. Where art once lived within the architecture of her garments, it now manifests on the canvas with a raw, unbridled intensity. The transition from the runway to the gallery has allowed her to trade the ephemeral nature of fashion for the permanence of the sculptural act.

The choice of venue, Palazzo Albrizzi-Capello, provides a storied backdrop for such a contemporary cosmic journey. Within the walls of the Associazione Culturale Italo-Tedesca, Martí’s “breathing works” will create a dialogue with the weight of Venetian history. The exhibition invites the viewer into a contemplative silence, offering a respite from the noise of the modern world.

As visitors move through the gallery, they are not looking at representations of nature, but rather experiencing its energy. Each piece serves as an autobiographical fragment, a moment of “pure energy” fixed in matter. Through December 22, “Sculpting My Universe” will offer Venice a glimpse into a personal cosmos that feels, at once, intimately small and terrifyingly vast. It is a reminder that within the silence of matter, there is always a vibration of light.