E-047.20
EXPIRED PAINT AND RECYCLED CLOTH ON CANVAS
115×150 CM / 45.27×59.05 IN
CONTACT FOR PRICE
E-045.20
ENAMEL ON 300 G/M2 100% COTTON ARCHES PAPER.
EMBRACE ERROR FOR AN OPTIMAL LIFE.
21×29,7 CM / 8.27×11.69 IN
CONTACT FOR PRICE
E-044.20
MIXED MEDIA ON DISCARDED WHITE POLYETHYLENE SHEET FOUND IN A DRY DOCK MARINE FACILITIES.
80×100 CM / 31.49×39.37 IN
GIVING DISCARDED MATERIALS A NEW LIFE.
CONTACT FOR PRICE
E-042.20
ENAMEL, SPRAY PAINT, BITUMEN PAINT AND GLUE ON DISCARDED WHITE POLYETHYLENE SHEET FOUND IN A DRY DOCK MARINE FACILITIES.
GIVING DISCARDED MATERIALS A NEW LIFE.
140×190 CM / 55.11×74.80 IN
CONTACT FOR PRICE
E-041.20
ACRYLIC, SPRAY PAINT, PAPER, GLUE, OIL ON FOUND BLACK MAT RUBBER SHEET.
50 x 80 cm / 19.68 x 31.49 in
CONTACT FOR PRICE
E-040.20
SPRAY PAINT AND RECYCLED BITUMEN PAINT ON CANVAS.
PAINTED WITH A PIECE OF CARDBOARD THAT BECAME PART FOR THE ARTWORK.
80×100 CM / 31.49×39.37 IN
CONTACT FOR PRICE
E-027.20 ED
ENAMEL, SPRAY PAINT, BURLAP, AND GLUE ON CANVAS. WOOD.
50×65 CM / 19.68×25.59 IN
SOLD
E-039.20
SPRAY PAINT AND RECYCLED BITUMEN PAINT ON CANVAS.
PAINTED WITH A PIECE OF CARDBOARD THAT BECAME PART FOR THE ARTWORK.
180×140 CM / 70.86×55.11 IN
CONTACT FOR PRICE
E-034.20
SPRAY PAINT ON JET BLACK PAPERBOARD
70 x 100 CM
CONTACT FOR PRICE
E-038.20
SPRAY PAINT, MARBLE POWDER, KAOLIN, DIRT AND GLUE ON CANVAS, WOOD.
120 x 170 CM / 47.24 x 66.92 IN
CONTACT FOR PRICE
E-032.20 (IT IS NOT EXACTLY RIGHT, IT IS INACCURATE)
SPRAY PAINT AND ACRYLIC ON CANVAS, WOOD.
120 x 170 CM / 47.24 x 66.92 IN
CONTACT FOR PRICE
E-021.20
SPRAY PAINT, ENAMEL AND PAPER ON FOUND BLACK POLYETHYLENE SHEET.
GIVING FOUND MATERIALS A NEW LIFE.
140×195 CM / 55.11×76.77 IN
CONTACT FOR PRICE
E-019.20 (I WAS SAD I AM OK NOW)
ENAMEL, SPRAY PAINT, OIL BAR ON LINEN.
120×170 CM / 47.24×66.92 IN
SOLD
E-002.20 (ed)
ENAMEL, SPRAY PAINT, OIL BAR, PENCIL ON COTTON BED SHEET.
105×210 CM / 50×82.67 IN
SOLD
E-020.20 (1)
ENAMEL, SPRAY PAINT ON FOUND PLASTIC BAG. MOUNTED ON PLYWOOD.
The Beauty of error and emptiness. Blank, silence.
82×102 CM / 32.28×40.15 IN
CONTACT FOR PRICE
E-020.20 (2)
ENAMEL, SPRAY PAINT ON FOUND PLASTIC BAG. MOUNTED ON PLYWOOD.
The Beauty of error and emptiness. Blank, silence.
82×102 CM / 32.28×40.15 IN
CONTACT FOR PRICE
E-015.20
E-016.20
Acrylic enamel, concrete powder, kaolin, oil bar on found black polyethylene sheet.
GIVING FOUND MATERIALS A NEW LIFE.
120×170 cm / 47.24×66.92 in
SOLD
E-013.20
Acrylic and gesso on self-made paper —out of recycled paper used for notes and sketches— a bit of turmeric was added for color.
26,5×35 cm / 10.43×13.77 in
CONTACT FOR PRICE.
E-009.20
Acrylic and marble powder on paper from 1995.
This piece relies on the qualities of old materials to give them new life with minimal use of new elements.
30×42 cm / 11.81×16.53 in
CONTACT FOR PRICE.
E-008.20
Acrylic and marble powder on paper from 1995.
This piece relies on the qualities of old materials to give them new life with minimal use of new elements.
30×42 cm / 11.81×16.53 in
CONTACT FOR PRICE.
E-007.20
Acrylic, spray paint, gesso on old Costa Rican 100 gr paper.
30×40 cm / 11.81×15.74 in
CONTACT FOR PRICE.
E-006.20
Acrylic, spray paint, gesso on old Costa Rican 100 gr paper.
40×30 cm / 15.74×11.81 in
CONTACT FOR PRICE
E-001.20
INSTALLATION
ORGANIC FLOUR MIXED WITH SEAWATER ON BLACK ROCKY WALL.
E-001.20
INSTALLATION
ORGANIC FLOUR MIXED WITH SEAWATER ON BLACK ROCKY WALL
E-001.20
INSTALLATION
ORGANIC FLOUR MIXED WITH SEAWATER ON BLACK ROCKY WALL
E-001.20
INSTALLATION
ORGANIC FLOUR MIXED WITH SEAWATER ON BLACK ROCKY WALL
Vladimir, 2015. Costa Rica
Dryed palm tree leaf, cement, cement block.
SOLD
Water from the Mediterranean Sea in Stamford, 2014 (USA)
-Me: “More than a piece or an object Water from the Mediterranean Sea in Stamford is a live process. A small water sample from the Mediterranean Sea will be sent to Connecticut, where it will transform from Barcelona seawater into Stamford vapor, and inevitably, into humidity. Once inhaled by the exhibition visitors, it will circulate throughout the exhibition space, contributing to the generation of condensation and enabling the formation of clouds in the upper layers of the atmosphere.”
This project was part of “It Narratives: The Movement of Objects as Information” exhibited at Franklin Street Works. Curated by Brian Droitcour and Zanna Gilbert.
E-001.18
INK, PAPER AND PLYWOOD 70X97 CM
SOLD
UNTITLED ROOM, 2018
E-001.17 NADA
Film photography
Creations which meanings lies precisely in the absence of meaning. Everything is in the will of those who receive visual communication leaving the viewer with complete freedom of interpretation. Nothing real can be threatened. Nothing unreal exists. Inkjet print on paper.
145×95 cm / 57.08×37.40 in.
CONTACT FOR PRICE
E.001.17 NADA
Film photography
Creations which meanings lies precisely in the absence of meaning. Everything is in the will of those who receive visual communication leaving the viewer with complete freedom of interpretation. Nothing real can be threatened. Nothing unreal exists. Inkjet print on paper.
95×145 cm / 37.40×57.08 in.
CONTACT FOR PRICE
E-001.17 NADA
Film photography
Creations which meanings lies precisely in the absence of meaning. Everything is in the will of those who receive visual communication leaving the viewer with complete freedom of interpretation. Nothing real can be threatened. Nothing unreal exists. Inkjet print on paper. 145×95 cm / 57.08×37.40 in.
CONTACT FOR PRICE
(M-A), 2017
Antarctic Biennale
On the coast of Antarctica (facing the ocean) the sound of the Mediterranean Sea waves will be heard via live streaming technology
This sound installation seeks to evoke the idea of relocation, intrinsic in the water, fomented by the hydrological cycle which and through the processes involved, water is distributed over the earth’s surface displacing the liquid to diverse geographic points different from the initial and thus continuously. Water does not belong to any one territory.
Watch video here
E-010.17 (bis)
ACRYLIC, CONCRETE, OIL, GLUE ON POLYETHYLENE
115X150 CM / 45×59 in
Video Stereopticon Slides (digital version), 2016
E-004.17 [sound of a strong movement of water in one direction], 2017
This artwork explores the gap between what is perceived and what is interpreted.
Through written descriptive sentences, and without any audible or vibrational stimulation, this project invites you to imagine the sound of water in different contexts.
Digital print on PVC 350×245 cm.
SICCUS, 2016
This is a short video that magnifies a photograph of mud cracks (sedimentary structures formed as muddy sediment dries and contracts due to a reduction in water content). Through abstraction and corruption of the image, the terrain surface acquires another scale. SICCUS visualizes the notion that spaces can merge.
The questions that arise from the dialogue are: What is the role of perception in our lives? Do we see things as they really are?
Untitled (Car Sun Shade), 2014
“Comfort Zone” at La Escocesa. Exhibition curated by Michael Swaney.
UNTITLED (BLACK WATER II) REFLECTION, 2015
Reflection of light depends on the nature of the interface and the origin of the incident ray.
Light may be absorbed by the material, light may be transmitted through to the other side, or light may be reflected back.
E-028.15
ACRYLIC ON PAPER
100 G/M2 23X30 CM
CONTACT FOR PRICE
When the water meets the stone brick, 2014 (Los Angeles)
Untitled Water, 2014
SAND TECH (IOS), 2013 (Costa Rica)
During 2013, I spent some time chasing after runners on the beach in order to take pictures of their footprints; the various impressions left in the sand where the technology of running shoes had been revealed.
Granted, these sand impressions do not have credits and if you don’t happen to be right there and then when they are created, they may go unnoticed. The intention and the energy that has been used in their creation is unknown.
SAND TECH (IOS), 2013 (Costa Rica)
