We abhor the definition of friendly, “nice” art, but generally, in their work, artist seek desperately the enjoyment of the spectator. The work of Nerea de diego is, as Francisco Carpio defines it, a pleasant surprise.

Her interest in everithing “nice” is clear and the artist recreates this in a manner which is both exaggerated and efficient, with a good sense of humour which is both contagious and childish. De Diego does not fear ridicule in this sense and this is how she reflects what she likes of what she sees, of what surrounds her or attracts her in her daily life or in her travels, with very open eyes, surprised by what she likes, which she embellishes and colours even more, like in a child´s notebook. Colour, colour and colour, homely materials, American tape, oilcloth and photographs: elements that seem familiar to us.

A constructor of espaces that, more than being domestic, are domesticated to her liking.Using household materials at all times, she teaches us how to make, as she herself says, a private home of the public space, and in this way, strolling trhought inmense Mexican markets, de Diego shows us the metamorphosis of a stall: a food stall is tranformed by its owner into a replica of the little sitting-room in this home. The artist personalises this mutatin and shows her pleasure, it is a process that, more than a simulation of espaces, directs the look and delight of the spectator according to her own criteria, creating cartographies between what is real and what is fiction, a very rich area in which a utopian and agreeable world can be seen, were a better-or at least, seemingly agreeable- word is possible.

Virginia Torrente, 2004 (Entornos próximos, Artium)