Leire Lacunza Miranda (Donosti, 1996). Her imaginary is made up of eroded images, fragmented messages, palimpsests, and the profuse ornamentation of the Baroque; drawings that press against the limits of a capital or a fluorescent tube, that splatter across the entirety of a village square, that are projected into the infinite sky, or that create a stain on the retina. Using popular materials, she proposes transforming the objects that surround us and aesthetically appropriating them: customizing household lamps, perforating the ceiling of a room, scratching the designs on coins, making necklaces impossible to wear.
Trained in Fine Arts and in the Máster de Pintura at EHU/UPV, she continues her education through workshops such as Kinu 11+1 Ibon Aranberri (2024), in the artistic practice program JAI (2024), and by combining predoctoral research with artistic practice. She has developed this practice through grants such as APA. Ayudas a la Práctica Artística (eremuak, 2024), Subvención de Artes Plásticas y Visuales (Gobierno Vasco, 2025, 2024, and 2022), as well as through national and international residencies: Shangyuan Art Museum (Beijing, 2019), BilbaoArte (Bilbo, 2021), Tabakalera (Donostia, 2022), Dinamoa (Azpeitia, 2023), Arteta (ezprogui) (Ezprogui, 2025), and Morpho (Antwerp, 2026).
She has presented her work in exhibitions such as: Noches Encendidas (Ciudadela de Iruña, 2025), Resbalar (una cosa) (Can Felipa, 2024), Un cuadrado de terciopelo negro (Bosteko, 2024), Minas a cielo abierto. Z·lrra ·rg· z·ri b·hrtu (Narata, 2023), amp. XXVIII ZAURIA/LESIÓN (Okela, 2022). She has carried out actions in exhibition spaces and in the public sphere: Un efecto del sol (BilbaoArte, 2025; Kampai, 2024; and Tabakalera, 2022), Cerrar ventanas (Artium, 2024), and The World is a Picture of the World (Arrigorriaga, 2025). In 2023 she published the artist’s book El fin del no. La muerte futuro.
