Rebeca Martínez's characters appear to us surrounded by numerous colour combinations, just what the painter most enjoys; the free mix of hues. Their faces, made up of different brush strokes, make us reflect on the moods and emotions that inhabit them.

The artist not only dispenses with describing the physiognomy in her works but also detailing the bodies, because on several occasions she only delineates them, like sketches or drawings, in the midst of a dynamic atmosphere. Her very presence is very clear within the composition and, therefore, her figure contrasts with the movement of both internal and external brush strokes.

These characters appear to us cold or, rather, alien, as they have a hint of existential emptiness as they lack both gaze, facial elements and specific attributes. However, Rebeca shows us their humanity abstracted, simplified, summarized and synthesized so that we, the viewers, seek to inspect, study and understand them without any prejudice due to their way of being and proceeding, or because of their physical condition and appearance. In this sense, the author arranges them for the observer to capture “between the lines” exclusively what is essential about her person, leaving aside any excluding or qualifying factor.