Felicidad Moreno studied in Madrid. Her largely abstract paintings are based on colour and matter, lying somewhere between geometry and gesture. She belongs to a generation of painters born around 1960 who began exhibiting in the mid-1980s, at a time when expressionist abstraction was being re-evaluated. The accent of her art is intensely lyrical and she employs a pictorial language with intimate feminine, 'gender-based' resonances. She combines chromatic gestures, plant motifs, organic-looking shapes and strictly geometric (often linear) forms, developed in circular or spiral knots and rhizomes, approached as repetitive units. Geometry began to come to the fore in her painting from the late 1980s, with bursts of light distilled in circles and spirals. It was to take an even more central place in her series hipnÓptico [hypnOptic] presented at the Castilla y León Museum of Contemporary Art in 2006, in which she transformed her own work into a simulacrum, using digital images on canvas, which she translated into liquefied and spiral kinetic forms.

In 1986, she was awarded one of the prizes at the Second Exhibition of Young Art at the Círculo de Bellas Artes in Madrid. Since then, her work has been shown in important solo exhibitions at venues such as the Sala Amós Salvador (Logrono, La Rioja, 2004); Castilla y León Museum of Contemporary Art (León, 2006); the Caja de Burgos Art Centre (2006); and the Santander Museum of Fine Art (2007). It has also been shown in group exhibitions such as the CaixaForum Collection of Contemporary Art (Barcelona, 2002); 'Los Cinéticos' ['The Kinetics'], at the Museo Reina Sofía (Madrid, 2007); and at the Helga de Alvear Foundation Visual Arts Centre (Cáceres, 2011-2013). She has won several awards, including the Altadis Prize for the Plastic Arts (Madrid, 2001) and the National Graphic Art Prize from the National Museum of Engraving (2006).

Roberto Díaz