100 fotográfos españoles.

The evolution of her work is focused on the relation of woman te her physical and psychological environment. Concepts such as intimacy, seduction, home, domesticity, tradition and body are present in works that surpass the limits of photography and, to a certain point, redefine it. On the one hand, the dresses and many of the objects appearing in the photographs have been created, sewn, thought-up by the artist, to dress the models, to build their images; oftentimes these clothes and objects are exhibited together with the images. On the other hand, sculpture and that sense of arts and crafts traditionally viewed as characteristic of woman, such as sewing, are at the origin of her dedication to art. In earlier series she amply developed themes such as the relation of woman to her everyday surroundings, to domesticity, to her mate and in a very subtle way, to sex, and she later explorad aspects of seduction and domination exercised in relationships. Her work evolves in lines: formally it is increasingly condensad and Baroque; conceptually it has grown more sophisticated, ranging from more common, everyday aspects to others that are more subconscious and profound. If in her first series the image of woman was physically linked to that of man, to bed, or to the heme through clothing or household furnishings, in her latest works she reflects on the desire to possess, to the possession of beauty that refers us to wealth, though obliquely, and especially te sex. But woman, whether through her clothes, her decorativa or ornamental elements, her make-up or her jewelry, is always at the core of an entire symbolic narration in which beauty, elegance and archetypical elements of seduction are ever present. Del Castillo has gene from how woman is possessed by man and the domestic setting to a realm in which the woman is the one possessing through her weapons of seduction, and where envy and lust appear as obsessions with attaining the objects of desire immediately and totally, absolutely. Her sometimes almost theatrical style has become denser, darker and more mottled over time, as she has left behind the simplicity and luminousness of her first works. Her images have become filled with mystery and they have gradually come to occupy the entire surface of the photographs.

ROSA OLIVARES
100 fotográfos españoles. 
Ed. Exit, 2006.