Ángeles Agrela
Ángeles Agrela
Chantal, 2022
acrylic and pencil on paper
79 x 60 in
200 x 152 cm
June Canedo de Souza
Tongue Twister, 2025
oil on canvas
25 1/2 x 19 in
64.8 x 48.3 cm
June Canedo de Souza
Apoio, 2025
oil on canvas
40 x 28 in
102 x 71 cm
June Canedo de Souza
Half Dozen, 2025
oil on canvas
48 x 60 in
122 x 152 cm
Æmen Ededéen (Joshua Hagler)
Cave at Sugarite Canyon, 2023
mixed media on linen and canvas
90 x 70 in
228 x 179 cm
Liang Fu
Invocation, 2026
pigment, oil on canvas
63 x 43 1/2 in
160 x 110 cm
Igor Hosnedl
Sea of Tears, 2024
handmade pigments, glue and damar varnish on canvas
102 x 71 in
260 x 180 cm
Igor Hosnedl
Luna, 2024
handmade pigments, glue and damar varnish on canvas
102 x 75 in
260 x 190 cm
Larry Madrigal
Silent Prayer, 2025
oil on canvas
40 x 30 in
102 x 76 cm
Marta Mattioli
I Was Cheering (Vanitas), 2025
bronze, black patina, paint
17 1/2 x 17 x 9 in
44 x 43 x 23 cm
Marta Mattioli
Solastalgia, 2025
bronze, nickel chrome
17 1/2 x 12 x 10 in
45 x 30 x 25 cm
Marta Mattioli
I Was Cheering (Vanitas II), 2025
bronze, brass, nickel chrome
8 1/2 x 10 x 9 in
22 x 26 x 23 cm
Marta Mattioli
Hedon, 2024
bronze, nickle chrome
9 x 6 x 4 1/2 in
23 x 15 x 12 cm
Daniel Pitín
Atomic Forest, 2025
mixed media on canvas
59 x 75 in
150 x 190 cm
Daniel Pitín
Title Forthcoming, 2025
mixed media on canvas
71 x 63 in
180 x 160 cm
Something is wrong with the figures.
Not broken — altered.
They lean too far forward.
Their faces hesitate.
Their skin behaves like memory instead of matter.
Across the gallery, bodies appear mid-thought, mid-injury, mid-revelation. Some are rendered with obsessive precision; others dissolve into abrasion and blur. Anatomy is stretched, compressed, or interrupted. The figure persists, but certainty does not.
These works do not describe people.
They register pressure.
Paint accumulates like sediment. Limbs repeat or disappear. Surfaces bruise, scrape, polish, and erode. The body becomes a site where time leaves fingerprints — where emotion alters structure and perception rearranges proportion. There is no single narrative binding the works together. Instead, the exhibition moves through tonal shifts: intimacy gives way to spectacle; devotion slips into grotesque; tenderness edges toward unease. Classical references surface only to be destabilized. Beauty appears briefly, then fractures.
Many of the figures seem caught between opposing impulses — exposure and concealment, control and surrender, recognition and refusal. Eyes look away or stare through. Gestures freeze just before meaning settles. The works ask not who these figures are, but what has happened to them. Despite their differences, the artworks share a preoccupation with presence: what it means to occupy space, to be seen, to remain legible. The body is treated neither as ideal nor as metaphor, but as something lived-in — vulnerable to distortion, memory, longing, and repetition.
Nothing here is illustrative.
Nothing resolves cleanly.
Instead, the exhibition unfolds like a series of encounters — each figure confronting the viewer with a different intensity: quiet, theatrical, brutal, fragile. Together they suggest that the body is not stable ground, but shifting terrain — shaped continuously by perception, history, and desire.
The result is not a statement, but a condition.
A room full of bodies trying to stay intact.
