José Neistein - Member of the International Association of Art Critics, Director of the Brazilian-American Cultural Institute of Washington, Professor at the University of Philadelphia.
Margarita Farré emerges as an increasingly demanding artist, polishing the edges, cutting concessions to seductions easily and brilliantly, to move towards increasingly integrated and challenging forms in her relationship with space. Margarita Farré has fundamental things to say, and she says them better and better, with greater clarity and depth, creating her own plastic expression, leaving behind the accessory and giving more and more sculptural solutions to her work.
Enock Sacramento - Curator and Member of the Paulista, Brazilian and International Associations of Art Critics
Margarita Farré transports us to a unique world, whose curves and angles take on a new and unexpected dimension and reveal to us all the sensitivity of the Catalan artist. Margarita is a sensitive interpreter of the female universe, despite dedicating herself to abstraction for some time, mainly at the beginning of her career. By representing men and women as the only theme of their work, we are shielded with a plastic language that dispenses with accessories and focuses on simplicity. Human curves, shapes and contours are portrayed by Margarita Farré as if they reveal mysteries, mysteries that the artist's female soul shapes to make us see the world with different eyes. Her work was analyzed by several Brazilian critics. She is the sculptor, active in São Paulo, with the largest number of individual exhibitions held in the USA, where she caused great admiration. Margarita developed a style of sculpture and her bronze works are present in numerous collections in Brazil and abroad.
Emanuel von Lauenstein Massarani - Art Critic, Writer, General Director of the Art Museum of the Parliament of São Paulo, President of the São Paulo Historical Heritage Recovery Institute
The human figure is the dominant inspiring theme in the work of Margarita Farré. She interprets it with great freedom and an essentially fantastic spirit, a naturalistic taste and precipitously extended to the evocative and metamorphic construction of human forms in space, in an autonomous and significant way. Fantastic is her way of organizing volume architecture, with a predilection for verticality that gives her compositions an improvised rise and contributes to the dynamism of the ensemble. There is a series of linear contrasts and energetic masses in her sculptures that often determine strong tensions, which permeate the whole of a sense of struggle and drama.
Authentic sculptor, where strength and energy are associated with an inner poetic nucleus that constitutes the true élan of her figurativism.