Born into a family of engineers where the norm was the technical understanding of space, Gimeno retained a taste for abstraction and added a dose of playfulness and creative freedom. Her works-both visual and sculptural-explore the expressive possibilities of form and line in relation to their context.

The author starts from an aesthetic utopia: that of stripping forms, emptying them of everything that is not themselves. For her, this conceptual framework does not mean setting limits, but quite the opposite. The horizon of an infinite search, which Gimeno assumes as improbable, encourages her to centralize the process. His research, then, seeks to see the lines and forms themselves speak, insisting on certain spatial configurations. That is why his chromatic range focuses mainly on the polarities of black and white, which allow him more clarity in his own formal language. The canvases become surfaces on which to write texts, almost as in a calligraphic operation.

However, the artist knows that form is never stripped of its context, since it always emerges from a material framework. This is why her work makes the contingent evident, why she gives prominence to the canvas as material, to textiles and their own characteristics. The word "context" is self-explanatory: from the Latin contextus, it means "union of two or more elements, also the circumstances in which they meet". And for the artist, it is this tangle of elements that interweaves like roots that allows the formal implosion. Her work not only invites the form to speak, whose language would be forced and reduced, but to awaken the heartbeat that lives in its most organic part. Then, his search acquires depth, since it doubles the power in this game with the limits of the material.