The nudity of the pieces, the compactness of the shapes, the proportion of the elements, the monumental vocation finds in these concern some mythical his values that Madola incorporates in her vocabulary in an architecture made to her measure, in an extension of ceramic resources that she takes to the limit of her expressiveness and of the special possibilities of the kilns which she works with.

It seems as if she wanted to transmit part of the religious symbolization that join the templates, the sanctuaries and the altar of great historical cultures to a repertory of pieces that surpass the ceramic magnitude, from its material stand to become totems of the memory or architecture of the myth.

    Daniel Giralt-Miracle. Museu de Ceramica, Barcelona, 1993

From the steles passing through the “doors” in 1998 Madola’s work of art is a work art in progress. The old surfaces nearly in two dimensions have become gradually tri-dimensional objects, not with violent breakage but with a soft evolution of the shapes. They have the memory of pre-historical architectures or historical background.

The architectonic substratum has become accentuated: doors with their entablatures, menhirs, narrow and long tablets, “templates”. In her great richness of art, she combines the plans with the curves, the pedestals of straight walls with the columns, what is closed with what is open, always white a sense of vertically and monumentality.

 The surfaces continue being strong, rugs, suggestive with their oxides mixed with the impost, producing a colouring paradoxically discreet and flashy, really romantic. All her thought is expressed in her old palette of brown, blue land and white colours.

         Trinitat Sanches Pacheco, Museu de Ceramica, Barcelona, 1990

To the series “Urns”, Madola gives them the withdrawal and melancholy of the finite, where one can rest.

Madola scrapes and leaves strokes, hollow and splits, strokes from whom left.

On an urn, the artist leaves an open book as meaning that the reading was finished.

Memory, time, space, recollections: all the elements that form this universal vase that is the human species and which come to converge in the eye of the storm that Madola searches for a historical perspective.

               Natacha Sesena, Museu Juan Baroja, Gijon November 1996

Her speech is the one made from inside about the human condition itself. There is not a tramp or a hiding place. Memory is a trick and fear, our nudity. With this sad and weak impediment, we are building up the time that is going by without solace and we still want to capture it through memories.

Therefore, the work of art .The great merit the one that converts these pieces of art in unique, unrepeatable and definitive, works of art for ever.

 It is their beauty, a transcendental beauty, of weight whit punch and power similar to those who are worn-out by life, humanity and peacefulness.

Also, knowledge is, at the same time energy to go on. I think all that is also transmitted by Madola’s work of art; the interest in living，the serenity in having lived and the illusion to continue living with the help of her pieces of art. How much!

   Trinitat Sanches Pacheco ,Museu de Ceramica ,Barcelona,1993