I do Polaroid painting. Instantaneous, descriptive, accidental, fast. I respond thoughtlessly to a harmony found in the environment. Harmony in my terms: a certain orthogonal construction -or almost- intersection of planes, a certain axis. I look for some soft, figurative Mondrian and that natural geometry I need, now that I use watercolors and inks, to interrupt it with the watery accident, like a slip. Before, in oil, I didn't dare to break, to tear that occasional harmony. I still try, in the Polaroid landscapes, as fast as that intimate development, the usual: to work a silent painting, a realism by the edges of the interesting, a visuality of the lateral, the peripheral, without anecdote, or motive. I try to generate neutral climates, barely touched by a muted lyricism, something melancholic. Silences, absences, emptiness, but without sadness, accepting the beauty of the unimportant.

Bibi Anguio: Definition essay.