She graduated in Fine Arts from the University of Zaragoza (2016), Master in Interdisciplinary Artistic Creation from the University of Malaga (2018), and is currently a PhD student in the Contemporary Art Research Programme at the University of the Basque Country. The Aragonese artist has had multiple solo exhibitions in different parts of Spain. Among them, Acumen (Museo Salvador Victoria, Mora de Rubielos), being the first graduate in Fine Arts from the University of Teruel to exhibit in the museum; Resquicios (Torreón Fortea, Zaragoza) or Ater, atra, atrum (Centro de Arte Tomás y Valiente, Fuenlabrada, Madrid).
She has also had group exhibitions at the Cervantes Institute in New York, at the Galería Cuatro (Valencia), at the Galería Antoni Pinyol (Reus) and at the Palacio de Sástago (Zaragoza). Resident at Casa Velázquez 2022/2023, second Ibercaja Young Painting Prize, participates in Feria Marte with the La Carbonería Gallery, speaker at the Congreso de Arte de Acción at the Universidad Complutense de Madrid with her work La destrucción en el arte (Destruction in art). of the XVIII Promotion of the Antonio Gala Foundation for Young Creators with her project Damnatio Memoriae, later exhibited at La Puerta Gótica (Pamplona), Acquisition Prize in the Plastic Arts Competition of the Four Season Hotel in Madrid, co-editor of the creative magazine La Novicia and directs, produces and hosts the cultural podcast La Precariete.
The work of Alba Lorente Hernández approaches a destructive aesthetic based on the work of some Latin American destructivist artists from the early 1960s. She approaches destruction as the creation of an image or plastic piece and as a methodology for the understanding and channelling of destructive thanatic drives.
Likewise, she elaborates a code to obtain another perception of the beautiful. What is considered strange and anomalous here is, in reality, an escape where the work is achieved by breaking and deforming the material with which he works.
Following this line, he makes drawings and sculptures of an abstract nature, recording the abstract in nature, leaving a record of the process and time on the support itself.