Murals
Sculpture
Monumental
NO
Size: 50 x 104 x 30 cm
Materials: ceramics, inox and vegetable motive.
Material for sale: bronze.
“There is a lot of dispersion. Nobody knows where does he belong to or what should he do. Nor what does he exactly want, or where should he head to or where to place himself. We all wander in dispair after money. We do anything for a bit of money and from there we jump into one or another. In short what we have is a big mess of people beating one another.”
Pedro Juan Gutiérrez
“Disrty Habana Trilogy”
Living on the margins of society is a way of surviving in adverse circumstances, and this uncertainty and the lack of expectations about future are represented in this work by a weak balance. This work aims at representing this uncertainty and human being’s loneliness in the search of his place. An space in a weak balance placed, sometimes, in the margins of society. The characters appear as indifferent to each other, isolated, trapped in their loneliness, men and women thrown into the condition of statues in a theatrical space. Human being suffers life.
Size: 28×41,5×29,5 cm.
Materials: ceramics, inox, textile and plastic.
Material for sale: bronze.
“ There is dirt in the air that contaminates everything.”
“ Reality is, more and more a quagmire in which everyone is digging in wanting to take their share; and in which you must get yours by trying to fight as little as possible.”
Rafael Chirbes
“ Crematory ”
Different types of relationships germinate on a seedbed that are intendend to be a reflection of today ́s society.
The Scene: A man raping another man……two celebrities fight; a paparazzi who is shitting notices the scene and impulsively in a reflex act photographs the moment.
Size: 105 x 164 cms
Materials: ceramics, iron, inox and backlit leds illuminated vinyl.
“It’s our mirror, because it represents us, with our precariousness, our pain and our solitude”
Franck Maubert,
“The Man Who Walks”
This work tries to dig into th bowels of human suffering, into the anguish and loneliness of man facing himself, of the naked being in plain sight; it talks about vulnerability, about being overwhelmed, and it does so through tension and distorsion of the human figure as placed in the middle of the work, sheltered in fetal position on a precarious pallet, in a band aid wall that symbolizes the patching and provisionality extended in time. The word LIVE appears in one side and signals the presence of the moment.
Size: 162 x 141cm
Materials: ceramics, mineral paint and wrought iron.
On an accumulation of toilet paper tubes a rat breastfeeds human children as fin they puppies. The initial idea arose from the visualization of some images from the studios of the painters Francis Bacon and Lucian Freaud and how among the great accumulation of waste they made their works.
Size: 104 x 153 cm
Materials: ceramics and blacklight painting.
“Imagine standing by a window at night, on the sixth or 17th or 43rd floor of a building. The city reveals itself as a set of cells, a hundred thousand windows, some darkened and some flooded with green or white or golden light.”
Olivia Laing
“The Lonely City”
( Adventures in the art of being alone )
The building of New York City in the Manhattan area seen from above are like blisters packs of pills accumulated randomly.
Size: 162 x 151 cm
Materials: ceramics (terra sigillata), inox and backlit leds illuminated vynil.
This work deals with prostitution from the point of view of its psychological burden. The scene develops against a background of condoms-replicas made in ceramics, each of them standing for an anonymous sexual intercourse. The ones lit are calling for inmediacy, here and now, as an object or leisure product meant for amusement.
Size: 157 x 121 cm.
Materials: ceramics (terra sigillata), acrylic paintng and cosmetics.
“Come on, take off your dress, your flowers and traps, put on the naked violence you hide”
Luis Eduardo Aute,
“Come on [Anda]”
The work is a still life of objects performing ideas about the ephemeralness of beauty; it places the artistic gaze upon a ritual of colour, glam and expectations related to grooming and putting on makeup and in its ephemeral reality of removing makeup. To show this, it uses a ceramic composition of panty liners and thongs, all of them decorated with creative motives. Colour comes into the work through ceramic replicas of make-up remover discs decorated with laces, see-through clothing and cosmetics, all of them associated with feminine aesthetic.
Size: 51 x 50 cm
Materials: cement and corten iron.
“Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The supervisor that the woman carries within herself is male, the supervised, feminine. Thus she turns herself into an object and most particularly an object of vision a sight.”
John Berger,
“Ways of Seeing”
On a sexualized checkered a game is played between men and women in which the more cerebral and calculating women win while the men around them look for their possibilities.
Women´s social presence has evolved as a result of their ingenuity for their own benefit.
Size: 52 x 36 x 36 cms. (It is possible to have reproduced in different sizes)
Materials: Mirror-polished bronze and mirror-polished inox.
Formal synthesis of the natural arrangement of the body in a space.
Size: 52 x 36 x 36 cms. (It is possible to have reproduced in different sizes)
Materials: Mirror-polished bronze and mirror-polished inox.
Formal synthesis of the natural arrangement of the body in a space.
Size: 52 x 36 x 36 cms. (It is possible to have reproduced in different sizes)
Materials: Mirror-polished bronze and mirror-polished inox.
Formal synthesis of the natural arrangement of the body in a space.
Size: 62 x 58 x 39 cms. (Possibility of reproduction in other sizes)
Material: Mirror-polished bronze and mirror-polished inox.
Stylized and glamurous shyntesis of the femenine figure in a ceremony.
“The dress looked like painted in her body. Its black colour contrasted so much with her skin that it looked like two worlds were going to collide with each other. The distance between her neck and her chest is an enormous white ocean, and then black comes back and the dress breeathes from waist to the feet.”
Carlos del Amor, “Madame X’s portrait”,
in Emocionarte (The Double Life of Paintings)
Size: 62 x 58 x 39 cms. (Possibility of reproduction in other sizes)
Material: Mirror-polished bronze and mirror-polished inox.
Stylized and glamurous shyntesis of the femenine figure in a ceremony.
“The dress looked like painted in her body. Its black colour contrasted so much with her skin that it looked like two worlds were going to collide with each other. The distance between her neck and her chest is an enormous white ocean, and then black comes back and the dress breeathes from waist to the feet.”
Carlos del Amor, “Madame X’s portrait”,
in Emocionarte (The Double Life of Paintings)
Size: 62 x 58 x 39 cms. (Possibility of reproduction in other sizes)
Material: Mirror-polished bronze and mirror-polished inox.
Stylized and glamurous shyntesis of the femenine figure in a ceremony.
“The dress looked like painted in her body. Its black colour contrasted so much with her skin that it looked like two worlds were going to collide with each other. The distance between her neck and her chest is an enormous white ocean, and then black comes back and the dress breeathes from waist to the feet.”
Carlos del Amor, “Madame X’s portrait”,
in Emocionarte (The Double Life of Paintings)
Size: 157 x 69 x 49 cm
Material: plaster.
Material for sales: bronze.
This work is modelled while adding pieces of toilets into the composition. Here the feeling of desire reveals through the combination of action, posture and symbolism. Specifically, the action of smoking stimulates desire.
Size: 157 x 69 x 49 cm
Material: plaster.
Material for sales: bronze.
This work is modelled while adding pieces of toilets into the composition. Here the feeling of desire reveals through the combination of action, posture and symbolism. Specifically, the action of smoking stimulates desire.
Size: Project for a monumental sculpture of aproximately 3 meters high.
Materials: corten iron and ceramics.
This work reflects about how the way of looking focuses information in order to transforms it into a feeling. The sculpture observes and that information manifests itself on its back, producing a feeling in the form of trail of tears.
Size: Project for a monumental sculpture of aproximately 3 meters high.
Materials: corten iron and ceramics.
This work reflects about how the way of looking focuses information in order to transforms it into a feeling. The sculpture observes and that information manifests itself on its back, producing a feeling in the form of trail of tears.
Size: Project for a monumental sculpture of aproximately 3 meters high.
Materials: corten iron and ceramics.
This work reflects about how the way of looking focuses information in order to transforms it into a feeling. The sculpture observes and that information manifests itself on its back, producing a feeling in the form of trail of tears.
Size: Project for a monumental sculpture of aproximately 3 meters high.
Materials: corten iron and ceramics.
This work reflects about how the way of looking focuses information in order to transforms it into a feeling. The sculpture observes and that information manifests itself on its back, producing a feeling in the form of trail of tears.
Size: Project for a monumental sculpture of aproximately 3 meters high.
Materials: corten iron and ceramics.
This work reflects about how the way of looking focuses information in order to transforms it into a feeling. The sculpture observes and that information manifests itself on its back, producing a feeling in the form of trail of tears.
Size: 21 x 41 x 41 cm
Materials: ceramics (raku style), iron, wood and vegetable motives.
The definition of entropy is the measure of a disorder. In this work, apparent disorder gives way to the harmony of parts as related to the whole; there is symbiosis among forms, among materials, textures and colours. In the constant search for inner balance the observation of an artistic work can be the balancing factor.
