Henar Soria

I have always enjoyed drawing. I remember drawing ever since I can remember, with a special interest in the human face. Lately, I have been using a pen almost exclusively because it is what I have always had at hand, because there is no going back—which helps me avoid obsessive perfectionism—it does not take up space, it adapts to any situation, and it gives very satisfactory results.
As for my training, I went to a painting academy for 10 years where I mainly did still lifes, which had nothing to do with drawing people, but it taught me to adapt quickly and I learned about the use of color, light, and different techniques. My architecture degree also helped me to become more fluent in my strokes and to develop a more specific style, although I am still in the process.
Those years really marked a turning point in the way I perceived "artistic production"—which I had always done in private, for pleasure—because having to display my drawings in class and always carrying a logbook with me, where I mixed drawings of projects with others of people, I naturally began to give visibility to what I was doing, and everyone told me, "
that I had to do something with it. But I didn't quite know what. What I did know was that when Javier Viver suggested selling three of my drawings, I couldn't turn down the opportunity to start doing
something with them.
So here they are: María ante el misterio (Mary before the mystery), Ángel de la Guarda (Guardian Angel), and La ternura de San José (The tenderness of Saint Joseph), three drawings that I took out of my notebook and whatever God wants with them.