Trained as a painter, in the early 1980s Solano shifted her creative focus from the pictorial plane to the threedimensional space, thus transforming her work into sculpture. By that time, sculpture was no longer an art based on carving and modeling, but had become a field of experimentation with materials, three-dimensional forms and innovative techniques that opened up infinite, previously unthought-of possibilities. As the American art historian Rosalind Krauss stated in 1978, the field of sculpture has expanded so much that the term "sculpture" has ceased to have a specific meaning and is now used to refer to "rather surprising things."
While many artists lost their way among an excessive amount of surprising possibilities, Solano found the ideal vehicle to express her ideas and develop her work in certain industrial materials, such as iron and lead. Constructed as a threedimensional prismatic box, this small work, entitled Venecia I, is made with an opaque sheet and a steel grille. After bending and soldering them, as if they were industrial objects, Solano added a smaller rectangular element, attached with two heavy screws to the front side. The effect of the work is ambiguous as, while it reveals a type of practical knowledge characteristic of industrial construction, it has no real function. Or, to state it more plainly, it is a useless object. However, from Marcel Duchamp onwards, artistic practice has taught us to find new meanings for objects that are seemingly not appropriate for aesthetic contemplation.
Javier Maderuelo, en Catalog Museo de Arte Abstracto Español, Cuenca, Fundación Juan March, Madrid, 2016