Clara Gómez Campos declares that the fulcrum of her project Témpera sobre paisaje is the search "for a connection between nature and the explorer's vision of pristine, uninhabited paradise, based on the understanding that their common denominator is the reciprocal consumption of which both are objects". The landscape she paints is undoubtedly that of the permanent mobilisation of tourism. As Clara herself explains, what she wants to do is show "false paradises, with Eden-like natural landscapes recently inhabited by explorers: people wearing shorts and sandals with socks".

The "characters" she paints are inserted in an advertising landscape; we see fragments of youthful bodies dressed in casual, colourful clothing against a background of riotous flowers or scenes borrowed from Bosch's Garden of Earthly Delights. The sense of taste is overstimulated by the presence of ice creams, hearty fried-egg breakfasts, soft drinks, hot dogs and ketchup, keeping pace with our fast-food culture. Three series appear in this exhibition: Paraísos Verticales [Vertical Paradises], Paraísos Horizontales [Horizontal Paradises] and Supermercado Paraíso [Paradise Supermarket], as well as the work entitled El jardín de las Delicias [The Garden of Earthly Delights] created specifically for the occasion.

Clara underscores the power of the visible, composing with precision and delivering a lush outpouring of colour, distancing herself from both the tragic tone of Art Informel and the rhetoric of complaint. Through painting she offers us an allegory of the present: portraits and landscapes, corporeality and paradise, glory and anomaly.

The exhibition catalogue contains the essays "Carpe Diem [Anomalous Paradise in the Work of Clara Gómez Campos]" by Fernando Castro Flórez and "Brief Notes on the Work of Clara Gómez Campos" by Iván de la Torre Amerighi.