Artists

In Fragilidad, Alexander Sucasaire gathers a luminous figure and drifting apparitions within a dark, granular field.

Carlos Zepeda returns to the winged figure as a study of ascent, suspension, effort, and repose.

César Albán layers architecture, landscape, and chromatic fragments into fields where the city is experienced as accumulation rather than view.

Edy Vásquez elongates the mantis into a tensile bronze figure, poised between anatomical reference and theatrical gesture.

In El conejo y el coyote, Everest Isaac compresses animal, human, and musical forms into a compact vertical bronze.

Fabián Antón Navarro brings horses, riders, and historical signs into layered fields of oil, mixed media, and bronze veneer.

Hector Hernandez uses carved wood to extend a winged figure upward, joining bodily effort to the grain and weight of the material.

Hernán Sosa constructs the figure through broad chromatic fields, patterned hats, veiled faces, and sharply edited silhouettes.

Ixrael Montes uses bronze to move among animal form, vessel, and emblematic structure.

Joselito Sabogal constructs inward, enigmatic scenes from compressed bodies, earth-toned surfaces, and recurring human and animal signs.

Joseph Firbas builds the portrait from faceted planes, folding garment, skin, and ground into a single chromatic structure.

Luis Enrique Santelices turns physical instability into the central subject of Sentido del balance.

Manolo Rodríguez treats the rectangle, diagonal, and repeated plane as active spatial forces rather than fixed geometry.

Neptali Quezada places the figure within spare, suspended worlds where bodies, celestial forms, and thresholds carry the weight of narrative.

Oscar Alarcón overlays the human figure with botanical growth, translucent color, and finely patterned surfaces.

Oscar Villalobos examines territory, memory, and transformation through paintings in which urban fragments and branded images accumulate.

Paolo Vigo interrupts the human figure with painted architectures, flowering matter, and saturated fields of blue, making concealment the image’s central condition.

Richard Pequeño works at the threshold of still life and dream, bringing birds, fruit, and patterned surfaces into improbable proximity.

Roberto Nuñez turns the forest into a saturated theatre in which figures and familiar objects take on a dreamlike charge.

Rodolfo López Ávila organizes color into interlocking verticals, translucent planes, and abrupt shifts of scale.

Saúl Castro reduces the bird to an upward gesture, giving a small bronze body the force of a vertical ascent.

Suki Bendezú brings partially submerged figures into dense, gestural fields where color carries as much emotional weight as the body.

In Sin título, Victor Chaca builds a low, totemic structure from carved and assembled reclaimed wood.