Geometric and organic marks the work of Charo Pradas. Her artistic way is similar to the orphists, who were from figurative to abstract. The opposite parts on Charo Pradas works –curved curve, angle in front of angle, colour against colour, chiaro against obscure. Her concentric and parallel brands, in addition to superposed capes, produces moving impact of vibratory slings like light or sound.

Charo Pradas does not like to name any of her paints, which she calls things. In fact, generic calefactive as plants or mineral names do not match with works. For this reason, we could talk about abstract painting. At the same time, these things could be things or not, could be real or only be representation of some ideas.

Charo Pradas work becomes different with the pass of time. According to Enrique Juncosa “The work of Charo Pradas it seems to be change with the arrival of new decade. In the eighties, when she has some renowned, she did surrealist paintings, in which plants and fictional animals remember us to microorganism and insects. In the nineties, starts the abstract process of her works. Today we could meet liquid works as liquid times. The dynamism of curved movements disappeared in front of new spaces.

Some kinds of themes are hidden in the surfaces of these works. This painting is more rigorous, if we put in front of nature, in which we could appreciate some pictorial reference.

The vibrations of Charo Pradas works on this generalization, and not only with common codes of regular forms and their simple symbolical explanation.

Charo Pradas is away of provisional; the anecdotic times do not have space when the reality build up from stable criteria.