Silva's paintings and drawings serve as a medium for compassionate and witty narratives. Inspired by his childhood fascination with classic cartoons, he has spent much of his life drawing and sketching. His energetic works are distinguished by an abstract style characterized by gestural brushwork and a penchant for curved lines and exaggerated shapes.

Silva's paintings and drawings serve as a medium for compassionate and witty narratives. Inspired by his childhood fascination with classic cartoons, he has spent much of his life drawing and sketching. His energetic works are distinguished by an abstract style characterized by gestural brushwork and a penchant for curved lines and exaggerated shapes.

Adolfo Riestra´s drawings teem with outlawed bodies; they form a revolutionary somatheque—both for his time, the 80s, and ours—by demanding a disidentification. These beings refuse the construction of a stable ego, resist identity labels, and flee fixation through contradiction: they are immobile inks chasing the lightness and mutability of the wind. This somatheque is filled with monstrous and beautiful inventions: arms stretching to deformity, twisted torsos, swollen thighs, enlarged genitals, steroidal breasts, falling, delicate buttocks, hermaphroditic creatures. Everything in his drawings is flawed, abject desire, capricious forms. His drawings don’t oppose beauty; they implant it with new standards: his song is that of a bird few understand. Excerpt from Curatorial Text for Cuerpo de Obra, Mauricio Marcin Desnudo

Incorporating figurative, botanical, and abstract forms in his sculpture, Tony Matelli creates uncanny objects that are both unsettling and comical. His bronze sculptures feature ropes frozen in mid-air, as if the ropes were dropped on a plinth and cast just before collapsing into inert coils. Other works rely on unusual juxtapositions, such as his weeds series in which plants sprout from the space between walls and floors. Across his oeuvre, Matelli discards traditional genre categories in favor of experiential concerns. “I like sculpture because it’s unwieldy, and there is a resistance to decoration in sculpture that I like,” Matelli has said. “Genres are at the service of ideas, not the other way around.”

Incorporating figurative, botanical, and abstract forms in his sculpture, Tony Matelli creates uncanny objects that are both unsettling and comical. His bronze sculptures feature ropes frozen in mid-air, as if the ropes were dropped on a plinth and cast just before collapsing into inert coils. Other works rely on unusual juxtapositions, such as his weeds series in which plants sprout from the space between walls and floors. Across his oeuvre, Matelli discards traditional genre categories in favor of experiential concerns. “I like sculpture because it’s unwieldy, and there is a resistance to decoration in sculpture that I like,” Matelli has said. “Genres are at the service of ideas, not the other way around.”

Claudia Comte has long been inspired by the wonders of nature. Her love of flora and fauna from different environments has resulted in magnificent sculptures in the form of cacti, coral, and leaves. Inspired by an intensive study of various oak species. The works reflect the seasonal cycle of leaves, falling in autumn and growing back in spring, highlighting the often-overlooked miracle of nature. Recognizing that humans are above all emotional beings, Comte combines sentiment, play, and information to help engender love for nature and the environment.

In this series Pia Camil reflects on processes of personal reconstruction, using painting as a means to reconnect with life and desire through art. By approaching the erotic from a personal perspective, the artist constructs a narrative that challenges the imposed limitations, opening space for a creative act that overflows both the intimate and the collective.

Adolfo Riestra´s drawings teem with outlawed bodies; they form a revolutionary somatheque—both for his time, the 80s, and ours—by demanding a disidentification. These beings refuse the construction of a stable ego, resist identity labels, and flee fixation through contradiction: they are immobile inks chasing the lightness and mutability of the wind. This somatheque is filled with monstrous and beautiful inventions: arms stretching to deformity, twisted torsos, swollen thighs, enlarged genitals, steroidal breasts, falling, delicate buttocks, hermaphroditic creatures. Everything in his drawings is flawed, abject desire, capricious forms. His drawings don’t oppose beauty; they implant it with new standards: his song is that of a bird few understand. Excerpt from Curatorial Text for Cuerpo de Obra, Mauricio Marcin Personajes