Born in Sabadell in 1950, Fina Miralles studied Fine Arts at Universitat de Barcelona, where she started developing her artistic work. Her first works are strictly linked to conceptual art, in particular to the second generation of conceptual Catalan artists, where we can find artists like Josep Domènec or Ferran Garcia Sevilla. They stand out mostly for their intention of linking art and life through the abolition of the studio’s concept as an artist workspace, therefore working in other places with more freedom. During this period, in 1974, she started working in managing Sala Vinçon’s programming. Afterwards she worked on research area and management area of Sala Tres in Sabadell, and management area of Espai 13 at Fundació Joan Miró.

Through the conceptual works of Miralles we can find two very marked aspects. On the one hand, we have one that has a great connection with nature, working in the natural space itself and using nature’s materials without any aesthetic transformation. On the other hand, the other side of it focuses on works with a very marked political charge, socially committed to feminism and the denunciation of totalitarianism, violence and patriarchy. Many of this second aspect, from 1975, are worked through photography.

From 1979 she returned to painting, emphasizing matterism over figurativism. But it is in 1983 when through portraits and landscapes she returned to figuration, taking painting as an experiential matter. The same year she abandoned the professional art world.

Her exhibition career is principally Catalan, in places like MACBA, Fundació Joan Miró or Museu d’Art de Sabadell. Although, she exhibited in important cities like New York, Paris, Madrid or Bucarest. Most of her work was donated in 1999 to Museu d’Art de Sabadell, but MACBA keeps too.