Yamila Miglioranza (Buenos Aires, Argentina, 1997) is a Barcelona based painter, she describes her practice as a kind of inner listening, with each motion serving as a means for the unconscious to take shape and make what cannot be expressed visible through color, texture, and movement. Her work doesn't start with a predetermined concept or fixed image. She approaches the canvas without knowing exactly what would be revealed, much like someone entering an analytical session.

She allows the body to think, the material to speak, and desire to express itself on its own terms. Through this process, the surface becomes a site of transformation, a space where the unconscious is made visible through the act of painting. The analogy between human skin and the earth, both of which are surfaces that store memories, leave traces of time, and bear marks, is at the heart of her work. Painting becomes a symbolic skin that holds pieces of the psyche, lived experience, and metamorphosis, much as skin remembers through scars, textures, and erosion. Miglioranza views the body as a complete perceptive organ and a boundary between the inner and outside worlds, influenced by Maurice Merleau-Ponty's phenomenology. She views painting as an embodied experience, a means of using the senses to inhabit the present.

There is memory in the skin, just as there is memory in the earth, and in the psyche.

Her compositions emerge from the erratic, the organic, and the emotional. There is no narrative, no figure, only presence. Only remains.

Each work is a fragment of a larger map, a material echo of something intimate that barely reveals itself, like a buried layer, a memory that resists full articulation.

Miglioranza does not paint images; she paints passages, pulses, memories, sensations, and silences. Her practice is one of sustained introspection, an affective archaeology that transforms the canvas into skin, terrain, and language. A painting that does not represent, but reveals. A painting that, in its becoming, listens.