Ana Montiel's relationship with color oscillates between absolute erudition and primitivism, between the complex and the simple. She does not perceive color as a solid surface, she associates without any prejudices all the different tones and gradients to sensations or moments, to emotions, or to objects without a name. Layers of hues run through her canvases like white noise, emerging from the depths to disappear again, generating different narratives for each viewer. One can spend hours standing in front of one of her Fields, waiting for the cloud of color that created all that frenzy a few minutes ago to happen again, in the same way you wait at a large aquarium for the mother walrus and her babies to swim again in front of you while they greet you.

Enrique Giner de los Rios

Ana Montiel crosses the frontiers of the preconscious and the unconscious that, in the words of Georges A. Miller, are those “archives where all the processes that psychologists suppose that must exist to explain what people do" are stored, in search of her particular images in the same way that, over time, shamans and many other artists have done it.
Lewis-Williams argues that "the art from the depths of the upper Paleolithic caves contradicts the seemingly obvious fact that art is made to be contemplated." It seems an irrational gesture, but we may only have expelled from our cognition those altered states of consciousness that induce us to interior experiences as authentic as those that keep us awake in appearance during the waking state. Ana Montiel brings into play those states in her risky visual immersion into the unknown and ulterior of herself, in the same process that the first settlers followed with the result of the cave paintings.

Physically, Lewis-William illustrates, "underground passages and chambers were the entrails of the underworld; the entrance into them was the entry, both physical and psychic, into the lower world." Being more precise: “the entrance to a cave was the entrance to the world of spirits. The embellishing images illuminated (possibly in a quite literal sense) a path to the unknown." This place was accessed after a ritual where certain altered states of consciousness were reached through which the earthly world and the spirits related. The wall of the cave was the last frontier, the painting was the "offering" and there man tuned in perfect synchronicity with the hereafter. In ‘Fields’ Ana Montiel has had present the complex exchange of energy between the rational and the irrational, the paintings themselves are witnesses of that communication.

Julio Hontana

Besides experimenting with altered states of consciousness Ana Montiel’s procedures involve, as basic tools, questions that arise from different subjects such as: metaphysics, phenomenology, the philosophies found in the Hindu Upanishads, or the buddhist doctrine of impermanence.

Human perception, its particularities, and the subjective burden associated with it is one of Ana’s most recurrent themes. In the scope of her own research, for Ana Montiel the act of perceiving, at the neuronal level, always implies creating. An act of pure creation where the artist considers that the senses, being the receptors that allow us to perceive the environment, "invent" knowledge from external parameters. With all this in mind, she deduces that colors as such do not exist, since we can conceptualize them simply as energetic vibrations that our brain translates into tonalities: something that the artist considers absolutely magical and that gives rise to an extensive reflection on the subject whose pictorial representation culminates in her ‘Fields’ series, whose non-restrictive approach aims to expand her own consciousness and that of the viewer.

Susana Baldor