Around 1980, Juana Francés abandons social criticism to venture once again into abstraction, evoking, with subtle references, comets and underwater landscapes. A kind of journey, from the depths of the sea to the sky, with the circle and rectangle as essential geometric figures. These are works on paper in which movement and color burst forth in lyrical harmony with a clear vocation for transcendence.
This path of fullness and maturity would be definitively cut short by the death of Pablo Serrano, her companion, in 1985. Juana then returns to canvases of great gestural violence and material density, dark and dramatic sidereal spaces where pain is reflected and which relate to the first informal paintings of the Alicante artist.
