Bárbara Alegre at the studio_2021. Photo courtesy of Javier Rodero.

In a world overwhelmed by conflict, overstimulation, and emotional fatigue, Bárbara Alegre’s paintings offer a rare counterpoint: stillness, softness, and sincere connection. Using muted palettes and layered oil compositions, she creates intimate spaces that respond to chaos with tenderness. Her figures evoke a return to slowness, empathy, and connection with the self, others, and the natural world. For Alegre, painting is “a shelter,” a quiet act of healing in a world that often feels overwhelming.

Alegre was born in Spain and is currently based in Barcelona. Her formal training spans three key institutions: Llotja Escola d’Arts i Oficis, Chelsea College of Arts, and the Royal College of Art in London, where she completed her MA in Painting. After a long hiatus to raise a family, returning to RCA helped relaunch her career and deepen her conceptual approach to artmaking. Each educational stage shaped her evolution — from technical foundations to a more philosophical and emotionally driven practice.

This month, Alegre’s work was featured at the New Art Dealers Alliance (NADA) Art Fair in New York City, presented by the Korean gallery, Dohing Art. The exhibition marked a significant step in expanding her global reach, offering North American audiences a glimpse into her introspective and deeply felt world. Her presence at NADA underscored the universal resonance of her work, which has previously been exhibited across Europe and Asia.

Seunghee Chung, director of Dohing Art Gallery, said she was immediately drawn to Alegre’s work. “I was struck by Barbara’s ideas, philosophies, and the expressive gestures she employs to convey them,” Chung said. “The depth and completeness of her work gave me great confidence in her art.

Bárbara Alegre ‘Limits of a Given World’ 2024. Oil on canvas, 50 x 70 cm/19.68 x 27.56 in. Photo courtesy of the artist.

In an interview with Global Voices, Alegre spoke about the emotional and symbolic forces behind her art, the use of personal artifacts such as her late mother’s makeup, the psychological undercurrents that shape her visual language, and how painting serves both as personal therapy and a quiet offering to others seeking solace in art.

Excerpts from the interview follow:

Omid Memarian (OM): In “Limits of a Given World,” a figure plays cat’s cradle with snails, evoking slowness and reflection. How does this respond to today’s urgency and overstimulation?

Bárbara Alegre (BA): In recent years, I’ve felt a strong urge to create soothing images that counter the violence of our often-dysfunctional world. I see affection as a path to understanding, and painting as a quiet, restorative space, free from cynicism, meant to share calm, peace, and kindness.

This painting unfolds like a fable, told through a female figure who embodies humanistic values and a deep commitment to understanding and respecting the environment that sustains her body and mind, ultimately benefiting nature itself.

The work seeks to recover a lost bond, to return to nature’s pace, and to remind us it may still be possible to feel its restorative power — to bring back balance and harmony with the fauna, flora, and ecosystem, which are extensions of ourselves.

Bárbara Alegre ‘Last Lesson’ 2020. Make-up and oil on paper, 57 x 77 cm/22.44 x 30.31 in. Photo courtesy of Ione & Mann Gallery.

OM:  In your series, “Last Lesson,” you incorporated your mother’s make-up into your paintings after her passing. How did this intimate process influence your exploration of identity, memory, and transformation within your work?

BA: This body of work explored pain, trauma, and reparation during the grieving process. I painted portraits of my mother using the makeup and brushes she left behind in an attempt to keep her near, physically present. Her DNA was all over them; the work was about her, made of her, and for her. It became a slow farewell that ended when the makeup ran out.

Painting helped resolve an inner puzzle that words or actions couldn’t explain, as trauma often resists discourse. These symbolic representations shifted my pain, leading to acceptance, honoring, and relocation.

I reflected on Melanie Klein’s view of art therapy as an act of love and reparation, and on Donald Winnicott’s idea of art as a transitional space, moving away from reality into fantasy and illusion. In that sense, the make-up became the transitional object, helping separate from the mother when she is no longer there.

Bárbara Alegre, ‘Shadow’ 2024. Oil on canvas, 35 x 35 cm/13.78 x 13.78 in. Photo courtesy of the artist.

OM: Your paintings often feature a subdued palette and gentle compositions. Can you discuss how your choice of colors and forms contributes to the calm and introspection permeating your art? 

BA: From a young age, I was captivated by the emotional impact of color, intuitively arranging shades to evoke specific feelings. In my late teens, studying color psychology deepened this, as I learned how color shapes mood and inner states. Later, working as a florist added another layer, connecting hues with smells and symbolic meaning.

This foundation shapes my current palette: subdued tones, pastels, and skin colors chosen to evoke softness, empathy, vulnerability, and innocence, inviting calm and contemplation. 

London Gallery Weekend 2022. Bárbara Alegre’s ‘Last Lesson,’ 2020, on Piccadilly Lights. Photo by Will Amlot, courtesy of London Gallery Weekend.

OM: Your work explores the physical and psychological. How do you use personal stories to speak to broader themes like empathy and the human condition?

BA: My work is rooted in personal reflections and experiences, but it aims to go beyond them to speak to universal aspects of the human condition.

We all move through similar emotional landscapes and fundamental questions as we grow. Art has always addressed these themes; what changes is how we express them.

I try to create a space where viewers can sense the connection between physical sensations and psychological responses. My goal is for the work to resonate deeply, fostering empathy and a shared understanding of our collective humanity.

Bárbara Alegre, ‘Seven Souls’ 2024. Oil on canvas, 70 x 50 cm 27.56 x 19.68 in. Photo courtesy of the artist.

OM: In works like “Fight, Flight, Freeze,” you explore trauma and psychological states. How do you translate these emotions into visual form, and what challenges come with that?

BA: My approach to translating complex emotional states, especially those tied to trauma, into figurative visual language is deeply personal, yet guided by a wish to connect with others. The challenge is giving form to internal, often abstract emotions without falling into cliché. I start by listening to my body, locating where the pain sits, understanding its nature, and sensing what might soothe it. This ongoing self-dialogue resembles a psychological session. Though abstract art might seem easier, I find it too simplistic for the intricacy of trauma. I aim to shape these invisible feelings through figuration that honors their depth and invites empathy.

Bárbara Alegre, ‘Naigo’ 2020. Oil on canvas, 90 x 130 cm/35.43 x 51.18 in. Photo courtesy of the artist.

OM: You’ve called art a “shelter,” a space for reflection and solace. How does this shape your process and the environments you create in exhibitions?

BA: In my experience, the role of art in mental health and emotional well-being has been vital. Since childhood, drawing and painting have helped me transform painful experiences into positive acts. When life feels reduced to pain, finding non-harmful ways to cope becomes essential—and for me, regular artistic practice is one of them. I try to share this refuge with others, offering tranquility through contemplation and the experience of art. The galleries I work with support this — whether by adding a carpet to a booth, painting walls in soft pastels, or choosing a space with a fireplace. That final sense of softness lives in every detail.

Bárbara Alegre, ‘Fight Flight Freeze’ 2023. Oil on canvas, 80 x 80 cm/31.49 x 31.49 in. Photo courtesy of the artist.

OM: With the increasing digitization of the art world, how do you perceive the role of physical presence and tactile experience in engaging with art?

BA: For me, the tactile and visual experience is essential; words can’t convey the profound feeling of seeing and touching. I try to evoke that sensation through paint.

Digital platforms are useful for accessibility, especially during times like COVID, but their limits are clear. On screens, artworks lose depth, detail, texture, color fidelity, and the subtle human traces of the original.

Nothing compares to seeing art in person, where all the senses engage in an immersive experience. While both formats may coexist, digital can never replace the richness of direct physical encounter.