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The Estudio Laterna Art Gallery. Where art unfolds throughout the space, weaving together dynamic forms and energies that invite the viewer into a multi-dimensional experience. Visitors are invited to engage with a curated collection that brings sculptural depth and painterly nuance into conversation, creating a sensory journey that prompts introspection. Here, every piece stands as a testament to the transformative power of art, encouraging reflections that linger beyond the immediate view.

We cultivate alliances that connect artists with audiences, nurturing dialogue that broadens perspectives and ignites creativity. Each artwork serves as a conduit for exploring the interplay of diverse forces, inviting a reflection of the intricate relationships we share. In this collaborative environment, we create a space where inspiration flourishes and artistic expression is elevated, fostering an appreciation for the complexities of our world and the art in it, through continuous exhibitions and a rich spectrum of artistic voices.

Violeta Galera
EL JARDÍN QUE ME HABITA
Current exhibition
Opening: 28th November 2025
Curated by Andrea Sánchez

Enrich³
Past exhibition
Opening May 2nd

Kelsey Brookes
Islands of Consciousness: Molecules, Meditation, and Now
Past Exhibition
Opening July 22nd

Li Ramet
INVISIBLE THREADS: THE THREAD AS MEMORY AND SCRIPTURE
Past Exhibition
Opening September 26nd
Curated by Andrea Sánchez

EDUARDO CHILLIDA BELZUNCE
Past Exhibition
Opening 4th October

View BIO and CV

CARLITO DALCEGGIO
Past Exhibition
May/October 2024

TEMPORAL LAYERS
Past Exhibition
Opening 19th March

ENRIC MAJORAL
Permanent Exhibition

ARTURO BERNED
Past Exhibition

PHENOMENA
Past exhibition
December 2023 / May 2024

LANDSCAPE OF THE SUN
Past Exhibition
May/December 2023

Art Gallery

The Estudio Laterna Art Gallery. Where art unfolds throughout the space, weaving together dynamic forms and energies that invite the viewer into a multi-dimensional experience. Visitors are invited to engage with a curated collection that brings sculptural depth and painterly nuance into conversation, creating a sensory journey that prompts introspection. Here, every piece stands as a testament to the transformative power of art, encouraging reflections that linger beyond the immediate view.

We cultivate alliances that connect artists with audiences, nurturing dialogue that broadens perspectives and ignites creativity. Each artwork serves as a conduit for exploring the interplay of diverse forces, inviting a reflection of the intricate relationships we share. In this collaborative environment, we create a space where inspiration flourishes and artistic expression is elevated, fostering an appreciation for the complexities of our world and the art in it, through continuous exhibitions and a rich spectrum of artistic voices.

Violeta Galera
EL JARDÍN QUE ME HABITA
Current exhibition
Opening: 28th November 2025
Curated by Andrea Sánchez

Kelsey Brookes
Islands of Consciousness: Molecules, Meditation, and Now
Past Exhibition
Opening July 22nd

EDUARDO CHILLIDA BELZUNCE
Past Exhibition
Opening 4th October

TEMPORAL LAYERS
Past Exhibition
Opening 19th March

Enrich³
Past exhibition
Opening May 2nd

Li Ramet
INVISIBLE THREADS:
THE THREAD AS
MEMORY AND SCRIPTURE
Past Exhibition
Opening September 26nd
Curated by Andrea Sánchez

View BIO and CV

CARLITO DALCEGGIO
Past Exhibition
May/October 2024

ENRIC MAJORAL
Permanent Exhibition

ARTURO BERNED
Past Exhibition

PHENOMENA
Past exhibition
December 2023 / May 2024

LANDSCAPE OF THE SUN
Past Exhibition
May/December 2023

Art Gallery

The Estudio Laterna Art Gallery. Where art unfolds throughout the space, weaving together dynamic forms and energies that invite the viewer into a multi-dimensional experience. Visitors are invited to engage with a curated collection that brings sculptural depth and painterly nuance into conversation, creating a sensory journey that prompts introspection. Here, every piece stands as a testament to the transformative power of art, encouraging reflections that linger beyond the immediate view.

We cultivate alliances that connect artists with audiences, nurturing dialogue that broadens perspectives and ignites creativity. Each artwork serves as a conduit for exploring the interplay of diverse forces, inviting a reflection of the intricate relationships we share. In this collaborative environment, we create a space where inspiration flourishes and artistic expression is elevated, fostering an appreciation for the complexities of our world and the art in it, through continuous exhibitions and a rich spectrum of artistic voices.

Violeta Galera
EL JARDÍN QUE ME HABITA
Current exhibition
Opening: 28th November 2025
Curated by Andrea Sánchez

See CV

Li Ramet INVISIBLE THREADS: THE THREAD AS MEMORY AND SCRIPTURE Past Exhibition
Opening September 26nd
Curated by Andrea Sánchez

See CV

Kelsey Brookes
Islands of Consciousness: Molecules, Meditation, and Now
Past Exhibition
Opening July 22nd

See CV

Enrich³
Past exhibition
Opening May 2nd

See CV

TEMPORAL LAYERS
Past Exhibition
Opening 19th March

EDUARDO CHILLIDA BELZUNCE
Past Exhibition
Opening 4th October

View BIO and CV

CARLITO DALCEGGIO
Past Exhibition
May/October 2024

ENRIC MAJORAL
Permanent Exhibition

ARTURO BERNED
Past Exhibition

PHENOMENA
Past exhibition
December 2023 / May 2024

LANDSCAPE OF THE SUN
Past Exhibition
May/December 2023

Violeta Galera

Violeta Galera was born in Madrid on September 5, 1981. For her, creation has never been a choice but a way of breathing and inhabiting the world. Her earliest memory is of painting, and she has never stopped staining her hands with ink and color. As a child, she loved painting with her mother’s oils and pastels; her childhood smells of oil paint and turpentine. She cannot live without creating. She has always loved art and cinema, and remembers falling asleep in her father’s arms in flamenco tablaos and theaters. Her family has always been connected to the art world, especially to flamenco.

At 18, she left home to live with five creative friends who were studying Fine Arts and audiovisual disciplines in the center of Madrid. By that age she was already organizing private parties featuring performances, exhibitions, and screenings of her video art. She lived and studied in Madrid, beginning her Communication and Film studies at Saint Louis University Madrid in 2000, before moving to Italy in 2002. There, she continued her education at the American University of Rome, graduating in Film in 2004. She developed a deep sensitivity toward video art and documentary imagery that would become essential to her work. Her thesis was a documentary on stickerism, the urban art movement of the Roman scene, of which she was an active part.

At twenty, she moved to Rome, to the Trastevere neighborhood, where she lived between 2002 and 2008. Rome became her creative laboratory. While studying film, she never stopped painting canvases and murals. At night she rode her motorbike through the streets of Rome, pasting large-format, hand-painted posters, exploring the urban art practice known as stickerism. Galera was an active figure in Rome’s underground scene, known for its critical force and urban energy. Her video artworks were shown in social centers and sometimes projected onto the façades of Trastevere houses from Galleria Stella.

She worked and held her first group exhibitions at Galleria Stella in Trastevere, and her pieces were regularly shown in social centers. Her work—vibrant, gestural, and rich in symbolism, addressing political and social themes—evolved from urban walls into a bridge between street art and the contemporary art world. Through this process she consolidated a personal language that connects street experience with painterly sensitivity.

In parallel, she studied Graphic Design and Illustration at the Istituto Europeo di Design (IED), graduating in 2008.

In 2004 she spent a period in New York, where for three months she filled the streets with her large-format posters and took part in a group exhibition in a private home in Brooklyn, presenting a series of ten paintings created in the city. During those months she developed intimate connections with local artists and collectors, which allowed her to explore alternative ways of presenting her work. In 2005, still based in Rome, she took part in group exhibitions in La Rochelle (France) and in Villa Chigi in Rome and Trento, exploring socially and politically charged themes with strong symbolic content. In 2006 she returned to Galleria Stella with the show Fuck the Bullshit, strengthening her presence within the European underground scene.

In 2008 she returned to Spain and lived between Ibiza and Barcelona, where she continued painting and developing her practice. She participated in exhibitions such as La Paloma at Espacio 8 in Madrid, presenting large-format paintings, an installation, and a video piece, alongside other group shows. In 2009 she traveled to Morocco, where she spent five months living in the home of an artist friend, collaborating with local creators and participating in exhibitions in private houses, further developing a visual language that integrated diverse cultures and experiences.

In 2010 she opened a small shop in the heart of Malasaña, Madrid, where she sold her paintings, organized private exhibitions, and created a meeting point for artists, building a bridge between Italian and Spanish creators. That year also marked a period of consolidation, as her pictorial practice and exhibition activity blended with cultural management and artistic exchange.

In 2011 she decided to leave everything behind and move to India to devote herself fully to painting. She spent several years between Goa and Ibiza, selling her work to private collectors. This experience profoundly transformed her art, infusing it with the chromatic strength and vital energy of India.

Back in Ibiza in 2016, after becoming a mother, she settled permanently on the island and built her studio in an old payés chicken coop in the northern mountains—now her creative workspace.

Alongside painting, she has continued working in performance and video art, collaborating with collectives in Ibiza and participating in festivals such as TERRITORI, presenting what she likes to call “poetic acts.” At TERRITORI, her performance Love Is Our Antidote became a milestone in her artistic exploration of the body and emotion.

Throughout her career, Galera has also taken on roles in curatorship and collaboration, working with musicians, videographers, and performers to create immersive experiences, and participating in women’s group exhibitions and experimental projects.

Her work has traveled through Rome, La Rochelle, London, Marrakech, New York, India, Paris, Brussels, Hamburg, Lyon, Miami, Mauritius, Madrid, and Ibiza, appearing in alternative spaces, private homes, and galleries. She has also worked sporadically as an assistant director in film and as a director of music videos. Her work is part of international private collections. “El jardín que me habita” is her first major solo exhibition, following a nomadic and prolific career spanning more than 20 years. This exhibition reveals the maturity of a language that fuses lived experience with artistic exploration.

Islands of Consciousness: Molecules, Meditation, and Now

Estudio Laterna presents a dual exhibition bringing together the work of two artists deeply engaged with the intersection of perception, nature, science, and spirituality: Javier Riera (Spain) and Kelsey Brookes (United States). Curated by Smith Vaitiare and Estudio Laterna, the show offers a sensory and conceptual journey through two complementary visual languages, moving between geometry projected onto the landscape and the molecular abstraction of states of consciousness.

KELSEY BROOKES

For as long as we have been human, we have sought transcendence—freedom from the boundaries of self, from the ceaseless chatter of thought, from the illusion of separateness. Across cultures and centuries, we have devised countless methods: meditation, dance, fasting, ritual, and chemistry. Each is a doorway, an invitation to step beyond the familiar and glimpse something vast, timeless, and deeply interconnected.

In the ancient world, people danced not merely for celebration but to dissolve the self, to merge with the rhythm of existence. Today, in places like Ibiza, that impulse remains unchanged. Beneath neon lights and ocean skies, people surrender to movement, to music, to the possibility of transformation. Here, consciousness itself becomes fluid, unbound by the rigid structures of daily life.

But what is it that shifts? What is it that dissolves? Is this experience of transcendence woven into the nature of dance, meditation, and philosophy alone? Or is there, encoded within certain molecules, DMT, serotonin, MDMA, an ancient and biochemical key to unlocking these hidden dimensions of mind?

As both a scientist and an artist, Kelsey Brookes explores this question through intricate paintings of the very molecules that shape human experience. These works are not merely celebrations of chemistry but invitations to wonder. They remind us that the boundaries we perceive, between self and other, mind and matter, are perhaps not boundaries at all, but illusions waiting to be seen through.

For in the end, what we seek is not escape but understanding. And when we cease searching, when we surrender fully to this moment, to the only place we have ever truly been, we find that the universe was never separate from us to begin with.

Molecules

As a scientist I studied chemistry and microbiology. I was interested in molecules and how they create and alter our consciousness. I continue that interest but now as an artist these same molecules provide inspiration for art.

Mathematics

Math is an incredible tool for modeling the world. When you reduce the logic of our natural world down to numbers, interesting patterns and sequences appear. These patterns and sequences reveal incredible secrets about how our material world was created. I was interested to see if I could make art using those same patterns.

Meditation

Meditation is another tool humans have developed to experience perception in its essential form. From this perspective of reduced perception insights into consciousness can be perceived. I was interested to see if I could make art about some of those insights that might help transmit those truths using a visual medium.

Kelsey Brookes is a former scientist who uses his background in biological and empirical methodology to create a new genre of art. His practice takes ideas and forms found in logic and natural systems (molecular and atomic structure, number sequences etc.) and creates art that blurs the boundaries between science and art. This methodology becomes the instrument used to create lively and colourful work that is both meticulously crafted and conceptually rigorous. His detailed paintings and sculptures find a balance between the normally opposing philosophies of subjectivity and objectivity, as well as concept and aesthetic. Diving into the discoveries of the physicist, mathematicians and chemist as only a scientist can, then reducing and expressing that knowledge to the non-scientific world in the form of image and colour as only an artist can.

His work as a painter – experimenting with pop, abstract and traditional elements, has spliced colour and construct with a scientific understanding of modern biochemistry to create a new genre of painting that explores an alluring, meditative abstraction.

Brookes masterfully melds a deep knowledge of cognitive science and art to create bright, intensely detailed paintings that abstract drug compounds, molecules, atoms and hallucinogenic states to heighten a viewer’s sensory perceptions and reactions. His two main bodies of work — molecules and aesthetic abstractions — are created with a rigorous process of attentiveness. A process of focusing awareness on the paint that is lost from the brush as it is applied to the surface of the canvas, then refocusing attention as the mind wanders away; which provides visual evidence of both an artistic process and meditation in practice.

His molecular paintings begin as two-dimensional maps of the precise locations of individual atoms, molecular line drawings, which then expand and radiate out from these hyper detailed locations/focal points to cover the entire canvas surface. The result, but never the end result, is a colourful abstract representation of the subject molecule. Often, Brookes’ aesthetic abstractions are meticulously painted surfaces that are organically constructed or stretched to provide an overt aesthetic connection to Eastern contemplative traditions, such as Buddhism.

Although they work in different visual languages and media, Javier Riera and Kelsey Brookes share a common driving force: exploring the invisible structures that shape our experience of reality.

Riera works with light and geometry, projecting them onto the living landscape in a silent dialogue with nature. Brookes works through painting and science, capturing molecular patterns and states of consciousness with a vibrational intensity that recalls mystical traditions.

One inhabits the outdoors—the garden and its living architecture; the other, the indoors, where art condenses into images that evoke inner, neurocerebral worlds.

Two settings, two media, two styles, yet the same ocean: that of expanded perception and contemplation as a path to knowledge. Their meeting at Estudio Laterna is not a mere juxtaposition, but a deep correspondence that invites the viewer to navigate between the natural and the mental, between the visible and the intuitive.

JAVIER RIERA in the garden…

Javier Riera is known for his ephemeral interventions in natural environments. He establishes a dialogue between geometry and nature, activating a field of relationships where the visible and the hidden intertwine.

Nature is not a mere backdrop, but an active and essential element, whose living and ever-changing condition is embraced as the generative force of the very geometry. The result is not only the record of an action, but the revelation of a latent order: an invisible structure that emerges from the interplay of light, geometry, and attentive engagement with the landscape.

Javier Riera’s work is based on projections of light and geometry applied directly onto vegetation, with a concept of intervention in the time and space of the landscape that places him close to the tradition of Land Art.

The relationship between geometry and nature takes on a meditative character here, appealing to the audience’s engagement with the suggestive power of the landscape’s transformation that they witness.

His installations aim to expand the viewer’s perception toward latent dimensions within the spaces where he intervenes, creating an experience of visibility in which calm and wonder coexist.

Riera conceives geometry as a natural language that precedes matter, capable of establishing a form of resonance with it. In this context, geometry becomes a bridge between our inner world and nature.

Riera’s work has been presented at institutions such as the Museo Universidad de Navarra, the Centro de Arte Caja de Burgos (CAB), and the Centro Niemeyer, and has been featured in international festivals including Llum BCN (Barcelona), La Nuit Blanche (Paris), and LUX Helsinki. In 2024, she created a site-specific installation for the surroundings of Chambord Castle (France), integrating her luminous language into one of Europe’s most iconic historical landscapes.

INVISIBLE THREADS: THE THREAD AS MEMORY AND SCRIPTURE

Li Ramet at Estudio Laterna

Curated by Andrea Sanchez

Estudio Laterna presents Invisible Threads, the new exhibition by Argentine-born, Ibiza-based artist Li Ramet. Through mixed media on canvas, Ramet expands the pictorial surface into sculptural depth, weaving gesture, fabric, and word into a single, continuous act. Her practice — rooted in an instinctive form of action painting — transforms matter into memory and textile into text.

The exhibition unfolds as a space of quiet resonance, where each thread becomes a trace of intimacy, each fabric a repository of time. Embroidery, long bound to the domestic and the feminine, here transcends its conventional frame to emerge as an act of writing — a script of sensations, of tenderness and persistence. The words that appear across the surfaces — sometimes whole, sometimes fragmented — seem to breathe, to suspend meaning between the visible and the felt.

In Invisible Threads, the textile ceases to be a support and becomes a living body: a membrane between presence and absence, between the gestures of making and the pulse of remembering. In the garden, a work created during the opening performance — a live action painting — remains exposed to the elements until November 24, allowing time, weather, and transformation to continue the act of creation.

THE UNION BETWEEN LI RAMET AND ESTUDIO LATERNA

The encounter between Li Ramet and Estudio Laterna arises from a shared sensibility: an understanding of artistic practice as a contemplative act, a dialogue between material and spirit, nature and interiority. Both Ramet’s textile explorations and Laterna’s curatorial ethos are rooted in attention — the slow unfolding of meaning through gesture, matter, and light.

In this exhibition, the threads extend beyond the canvas, weaving connections between the visible and the invisible, between the feminine body of work and the natural landscape that surrounds it. It is in this porous threshold — between inside and outside, art and life — that Invisible Threads finds its resonance within the vision of Estudio Laterna.

ABOUT THE ARTIST

Li Ramet (b. Argentina) lives and works in Ibiza, Spain. She holds a degree in Fine Arts from the Faculty of Arts and Design at the National University of Cuyo. Her multidisciplinary practice spans drawing, painting, collage, tapestry, and sculptural installation. She has exhibited in Spain, France, New York, London, Istanbul, and Argentina, and her works are held in international private collections.

In Invisible Threads, Ramet continues her exploration of the materiality of language, contained eroticism, and feminine memory — transforming thread and fabric into vehicles of contemplation and resonance.

Enrich³

In a studio in Igualada — a Catalan town shaped by its industrial past and quiet reinvention — an artistic constellation has quietly formed. A father, Ramon Enrich, and his two sons, Enrich.R and Isidre Enrich. Their practices are distinct, their voices independent, yet bound by a deeper rhythm: a visual inheritance shaped through presence, repetition, and shared time.

When Ramon painted, his sons watched. Two small chairs, designed by him, were placed beside the easel. They weren’t there for comfort, but for attention. For witnessing the studio as a space of stillness and structure, a place where a thought could unfold slowly and without demand. From this early proximity came not a method, but a way of being — one that values doubt, silence, and the discipline of looking.

This exhibition, curated by Luis Galliussi, traces the outcome of that proximity. The works do not echo one another. They resonate. Each artist moves with autonomy, but within a shared atmosphere — one shaped by Igualada’s Rec district: a place of old tanneries, water channels, and industrial residue. The texture of that environment — its worn surfaces, its soft edges — appears again and again in their work. Together, they form a kind of family triad: elemental, rigorous, and remarkably still.

Ramon Enrich

Ramon Enrich’s work exists at that threshold where looking and perceiving unsettle logic.

Architectural elements serve as expressive vehicles to explore painting through emotion.

The symbolic value of his forms, combined with a sense of narrative intent, poses an enigma that stimulates the viewer and guides them toward ambiguous territories, where sensation prevails and interpretation defies linearity.

Essential scenes, both refined and rooted, engage in dialogue with the passing of time, the contemporary and the ancestral, the functional and the essential.

Small constructions infused with materiality reveal a universe where beauty emerges as something both enigmatic and tangible. Silent, dust-covered settings evoke a Mediterranean scorched by light.

His sculptures pulse in slow, circular cycles, carrying a minimal gesture capable of activating the inert through contained hypnosis. They are suspended drawings in air — abstractions that float lightly, radiating intensity.

In his canvases, painting becomes matter, colour, vibration, and rhythm; it defies structural logic through the illusion of the pictorial, as if everything were part of an intimate and revealing stage.

Each image seems to capture the moment just before disappearance — a vision of landscape that lies closer to inner rhythm than to reason.

Colour is not merely tonal; it becomes substance. And painting, far from being mere surface, acts as a form of construction. Enrich conceives everything from the inside out, projecting the essential beyond the edges.

His compositions inhabit the contemporary with a serene clarity, yet their structural and symbolic complexity reveals a deep thought process that leads us into unfamiliar spaces that somehow feel like our own.

Enrich. R

Starting from a new abstraction, attempts to explain a work often become its own limitation. In painting, discovering hidden energy means understanding a little more — and breaking that understanding to go further. Even without grasping anything fully, images and poetry bring us closer to what is beautiful, good, and true in ways we cannot explain.

This mystery — the one we cannot fully uncover — is the very material from which images are built. Something always new emerges from this undefined space, avoiding the traps of formalism and exploring the internal logic of things. Explanations are often constructed like fiction, created to make us feel safe, to help us believe we understand everything.

To symbolise the inner world through the outer one is not a linear path. It does not begin in a single place, nor does it lead to a single point. What drives Enrich.R is a poetic intuition — the sense that behind the metaphor lies something more than a substitute for reality. This has always been the foundation of his practice, echoing the clarity and simplicity found in artists like Brancusi, Flavin, and Long, whose restraint opens up paradoxically expansive creative languages. This is the path of Enrich R: one defined by the search for a personal expression of the lived landscape.

Simplicity, transience, asymmetry — in Enrich.R’s work, these elements carry a quiet tension. He avoids the surface and chooses instead to dwell in what lies beneath. Backgrounds fade, colours evaporate, paths become unclear. Organic forms drift, losing their trace, leading the eye toward emptiness.

Like his water stains drying on the wall in sunlight, each painting has its own course, and each idea its own quiet logic.

From canvas to canvas, Enrich.R writes the letters of his code.

Isidre Enrich

A flower at the centre of the canvas.

This is where Isidre Enrich begins — with a gesture that appears simple, but carries quiet significance. Over time, it becomes a method of reflection: on impermanence, on beauty, on the passing of time. The flower becomes less a symbol than a presence. A form suspended between appearance and emotion.

Each painting seeks a new atmosphere. Variations in colour, rhythm, and structure open up subtle changes in tone. The image is always recognisable, but never repeated. It shifts — sometimes upright, sometimes leaning, sometimes dissolving toward the edge. What remains constant is a sense of attentiveness, of time held briefly and with care.

The idea of vanitas runs beneath the surface, not through literal reference, but as a feeling — the awareness that everything is fleeting, and that this is where beauty often resides. Isidre does not paint flowers in the traditional sense. He paints the weight of a moment. A quiet state made visible through colour, texture, and line.

His recent works reveal a visual logic that is both unusual and precise. Each composition holds a tension between order and spontaneity, between the discipline of form and the vulnerability of expression. The result is a kind of personal language — minimal, emotive, and exacting.

Behind the apparent simplicity lies an extraordinary clarity. A balance of fragility and structure, held for a moment, then released.

The Rec: A Living Archive

In the heart of Igualada lies El Rec — a district etched with memory, material, and quiet resistance. Once the industrial lung of the town, El Rec emerged in the Middle Ages around a man made canal that diverted water from the Anoia River, sustaining the city’s thriving tanning industry for centuries. The neighborhood evolved into a dense network of factories, warehouses, and family-run workshops, forming a unique topography shaped by leather, labour, and water.

Even today, you can feel the sediment of time here — in the rusted iron doors, the scent of old stone, and the light that filters through half-abandoned buildings.

For the Enrich family, El Rec is not just a setting but a deep source of aesthetic and emotional material. It is where they live, walk, and work. Ramon Enrich, and his sons Enrich R and Isidre, absorb the visual and symbolic textures of the neighborhood — its layered walls, geometric shadows, and quiet metaphysical pull. The Rec offers a model of imperfection and persistence, of time folded into structure. Its post-industrial poetry echoes in the constructions and silences found in their work.

Over the past two decades, this district has quietly transformed. Artists, designers, and local visionaries have repopulated its forgotten spaces, creating a new language of continuity and experimentation. But El Rec never fully gives itself away — it remains atmospheric, unfinished, more felt than understood.

In the context of this exhibition, El Rec is both backdrop and collaborator. A landscape of material memory that animates the Enrichs’ architecture of emotion.

Luis Galliussi

“Enrich³”

My story with them

“If I could say it in words, there would be no reason to paint.”

This phrase is attributed to an artist known for his solitary scenes and introspective atmospheres…

I, too, find it impossible to put into words what I felt the day I first encountered Ramon the son,

then Isidre, and finally Ramon the father.

From those encounters onward, my emotional puzzle led me to pause and dwell on each of them — on the impeccable, though distinct, execution of their work, and on the aesthetic grime, full of exquisite beauty, that filled their studios in Igualada, Catalonia.

Ramon the father and his two sons, Ramon and Isidre, together for the first time: that was my greatest motivation.

A shared creative bloodline coursing with conflict, doubt, and also a deep pride — the kind that arises when old souls, out of sync with their biological ages, are able to see and accompany one another, keeping secret what we will never know, yet allowing us to feel it when we approach their work.

So I visited them. We spoke at length. Each, in their own way, was generous in inviting me in, allowing me to step into their worlds — into their workspaces, which are essential to who they are as artists.

The emotion I still carry from that day in Madrid — where a pair of paint-splattered shoes became the fuel that pushed me forward — is what made me bring Enrich³ to my beloved island of Ibiza.

To bring them together in a setting like Estudio Laterna — a place that is perfect precisely because it is not a traditional gallery, but rather a space, a studio, where things happen. Things related to life — this time, artistic life, and as a family.

“Enrich³ through my eyes… that is all I can say.”

Luis Galliussi, curator of experience

Summer 2025

RAMON ENRICH

Education

1985–1990 – École des Beaux-Arts, Barcelona

1987–1989 – Art History, University of Barcelona

1987 – École des Beaux-Arts, Paris (Erasmus)

1988–1990 – Graphic Arts, Gremi d’Arts Gràfiques de Catalunya, Barcelona

1990 – Universität der Künste, Berlin

Solo Exhibitions

2025 – Architectura e Utopia, Cadogan Gallery, Milan (Italy)

2024 – Solo show, RKFA Gallery, Singapore

2024 – Solo show, Cadogan Gallery, London (UK)

2024 – Solo show, Leonet Hoang, Brussels (Belgium)

2024 – Solo show, Amelie Maison d’Art, New York (USA)

2023 – Solo show, Artborescence Gallery, Paris (France)

2023 – Solo show, Amelie Maison d’Art, Paris (France)

2023 – Solo show, Antonia Jannone Art Gallery, Milan (Italy)

2020 – Solo show, Antonia Jannone Gallery, Milan (Italy)

2016 – Espai Volart, Fundació Vila Casas, Barcelona (Spain)

2013 – Donath Gallery, Troisdorf (Germany)

2012 – Al Bahu Space, Abu Dhabi (United Arab Emirates)

2012 – Club Montecarlo, Dubai (United Arab Emirates)

2012 – Kamila Regent Gallery, Saignon (France)

2010 – Sant Andreu de Llavaneres Archive Museum, Barcelona (Spain)

2009 – Galerie María José Castellví, Barcelona (Spain)

2007 – Carmen Terreros Gallery, Zaragoza (Spain)

2007 – Baltazar Gallery, Brussels (Belgium)

2003 – Arcturus Gallery, Paris (France)

2003 – Hof & Huyser Gallery, Amsterdam (Netherlands)

2003 – Galeria María Llanos, Lisbon (Portugal)

2002 – Hof & Huyser Gallery, Amsterdam (Netherlands)

2002 – Galeria María Llanos, Lisbon (Portugal)

2001 – Llucià Homs Gallery, Barcelona (Spain)

2001 – Ignacio de Lassaletta Gallery, Barcelona (Spain)

2001 – La Tour des Cardinaux Gallery, Marseille (France)

2000 – Zeitz Museum, Zeitz (Germany)

2000 – Serrahima Gallery, Barcelona (Spain)

2000 – Martini Gallery, Hong Kong (China)

2000 – Maison de la Catalogne, Paris (France)

2000 – Donath Gallery, Troisdorf (Germany)

2000 – Baltazar Gallery, Brussels (Belgium)

1999 – Kölmann Gallery, Wiesbaden (Germany)

1999 – Baltazar Gallery, Brussels (Belgium)

1999 – Pfundt Gallery, Berlin (Germany)

1998 – Museum of Modern Art, Mittelhof (Germany)

1997 – Donath Gallery, Troisdorf (Germany)

1996 – Giessen Museum, Giessen (Germany)

1995 – Trece Gallery, Ventalló (Spain)

1995 – Art Sud Gallery, Toulouse (France)

1995 – Ikeda Gallery, New York (USA)

1994 – Künstlerhaus Mousonturm, Frankfurt (Germany)

1993 – Marburg Museum, Marburg (Germany)

1993 – Art Sud Gallery, Tolosa (Spain)

1992 – Galeria 22, Igualada (Spain)

Selected Group Exhibitions

2024 – El Cuerpo del Silencio, Fundación Valentín de Madariaga, Seville (Spain)

2022 – Recent Artworks, Paris (France)

2022 – Art Paris (France)

2018 – Pigment Gallery, KIAF 2018 ART SEOUL, Seoul (South Korea)

2015 – Espai Volart, Fundació Vila Casas, Barcelona (Spain)

2014 – Design Academy, Berlin (Germany)

2014 – Sylt Gallery, Sylt (Germany)

2014 – Art Genève (Switzerland)

2013 – Paper World, Frankfurt (Germany)

2013 – Kd Kunst, Vollersode (Germany)

2013 – Robert & Tilton, Los Angeles (USA)

2012 – Melbourne Art Trade, Melbourne (Australia)

2011 – Design Academy, Berlin (Germany)

2011 – Sylt Gallery, Sylt (Germany)

2011 – Art Genève (Switzerland)

2010 – Art-Kunts Wien, Vienna (Austria)

2010 – Art Rotterdam (Netherlands)

2009 – Sylt Gallery, Sylt (Germany)

2009 – Art Genève (Switzerland)

2008 – Art-Kunts Wien, Vienna (Austria)

2008 – Art Rotterdam (Netherlands)

2007 – Design Raum, Bonn (Germany)

2007 – Art International, Zurich (Switzerland)

2007 – Miquel Alzueta Gallery, Barcelona (Spain)

2006 – Hof & Huyser Gallery, Amsterdam (Netherlands)

2006 – Il Polittico Gallery, Rome (Italy)

2005 – Jorge Alcolea Gallery, Madrid (Spain)

2005 – Kamila Regent Gallery, Saignon (France)

2005 – Carmen Terreros Gallery, Zaragoza (Spain)

2005 – Maison Kregg, Brussels (Belgium)

2005 – Sala Parés, Barcelona (Spain)

2005 – Gallery 22, Igualada (Spain)

2004 – Baltazar Gallery, Brussels (Belgium)

2004 – Jorge Alcolea Gallery, Madrid (Spain)

2004 – Art Sud Gallery, Tolosa (Spain)

2003 – Espai 21, Cambrils (Spain)

2000 – Von Lintel & Nusser Gallery, Munich (Germany)

1999 – Rare Art Properties, New York (USA)

1998 – Mason Gallery, San Antonio (USA)

1996 – Art Frankfurt, Frankfurt (Germany)

1996 – Künstlerhaus Mousonturm, Frankfurt (Germany)

1994 – Art Frankfurt, Frankfurt (Germany)

Collections

Banco Santander Collection, Madrid (Spain)

Fundació Vila Casas, Barcelona (Spain)

Barcelona City Council Collection (Spain)

Fundación Coca-Cola, Madrid (Spain)

Deutsche Bank Collection, Frankfurt am Main (Germany)

David Hockney Private Collection, Los Angeles (USA)

Donald Judd Private Collection, Marfa, Texas (USA)

Norman Foster Private Collection, London (United Kingdom)

ENRICH.R

Solo Exhibitions

Abstract Poems, Alzueta Gallery, Barcelona, Spain (2025)

Abstract Problems, Circle Culture Gallery, Berlin, Germany (2025)

Solo Exhibition, Palau de Casavells, Casavells, Spain (2024)

Month by Month, Galerie Ground, Brooklyn, New York, USA (2024)

Hampstead Park, Alzueta Gallery, Madrid, Spain (2024)

Solo Exhibition, Ruby Atelier, Copenhagen, Denmark (2023)

Solo Exhibition, Palau de Casavells, Casavells, Spain (2022)

Abstract Path, Alzueta Gallery, Barcelona, Spain (2022)

Solo Exhibition, Gallery B·R, Tetbury, UK (2022)

Solo Exhibition, Tour of Stradivarius Meets Art, Online (2021)

Solo Exhibition, Jazminos, Bilbao, Spain (2020)

Selected Group Exhibitions

Marco. Límite y lugar, Alzueta Gallery, Madrid, Spain (2025)

What Abstract Art Means to Me, Alzueta Gallery, Barcelona, Spain (2024)

Annex Gallery, Sun Contemporary, Bali, Indonesia (2024)

Group Exhibition, Amelie Maison d’Art, Paris, France (2023)

La Terre est Bleue Comme une Orange, Alzueta Gallery, Madrid, Spain (2023)

By Invitation, Alzueta Gallery, Círculo Ecuestre, Barcelona, Spain (2022)

Álbum de Familia, Alzueta Gallery, Madrid, Spain (2022)

Group Exhibition, Pigment Gallery, Paris, France (2021)

Art Fairs

London Art Fair, Gallery B·R, London, UK (2025)

Enter Art Fair, Alzueta Gallery, Copenhagen, Denmark (2024)

Estampa Art Fair, Alzueta Gallery, Madrid, Spain (2023)

Art Paris, Alzueta Gallery, Grand Palais Éphémère, Paris, France (2022)

JustLX, Alzueta Gallery, Lisbon, Portugal (2022)

Estampie Art Fair, Alzueta Gallery, Madrid, Spain (2022)

ISIDRE ENRICH

Solo Exhibition

Alzueta Gallery, Barcelona, Spain (2022)

Floralia Exhibition

Alzueta Gallery, Barcelona, Spain (2022)

Group Exhibition

Duo Exhibition, Alzueta Gallery, Barcelona, Spain (2025)

Solo Exhibition

Private Walls Gallery, Sint-Martens-Latem, Belgium (2024)

Group Exhibition

Private Walls Gallery, Knokke (2025) Art Fair in Brussels (2025)

Education

1996–2000 – Biochemistry, Colorado State University, Fort Collins, CO (USA)

2005 – Leaves scientific career to dedicate fully to art

Solo Exhibitions

2025 – Solo show, Quint Gallery, La Jolla, CA (USA)

2019 – Perception and Hallucination, Quint Gallery, La Jolla, CA (USA)

2018 – Fibonacci, Waveforms and Capsid Symmetries, Quint Gallery, La Jolla, CA (USA)

2017 – The Mathematics Underlying Art, Pace Prints, New York, NY (USA)

2016 – Position, Library Street Collective, Detroit, MI (USA)

2016 – The Golden Ratio: Aesthetics and Mathematics, Compound Projects, Malibu, CA (USA)

2015 – Psychedelic Space, Quint Gallery, La Jolla, CA (USA)

2015 – Plants of the Gods, Eric Firestone Gallery, East Hampton, NY (USA)

2014 – Sleep: The Science and the Mystery, Library Street Collective, Detroit, MI (USA)

2013 – Better Living Through Chemistry, Judith Charles Gallery, New York, NY (USA)

2013 – Recreational Drugs, Valmorbida, London (UK)

2012 – Serotonin: Happiness and Spiritual States, Quint Contemporary Art, San Diego, CA (USA)

2012 – Meditations on Symmetry, Compound Projects, Malibu, CA (USA)

2011 – Desires of the Soul, The Outsiders, London (UK)

2010 – Caped Creatures, Circle Culture Gallery, Berlin (Germany)

2009 – Bigger, Brighter, Bolder, Quint Contemporary Art, La Jolla, CA (USA)

2008 – Kelsey Brookes, New Image Art Gallery, West Hollywood, CA (USA)

2007 – Super Numerary, Milieu Gallery, Bern (Switzerland)

Selected Group Exhibitions

2014 – Dazed & Confused, Eric Firestone Gallery, East Hampton, NY (USA)

2014 – State of the Art: Discovering American Art Now, Crystal Bridges Museum of American Art, Bentonville, AK (USA)

2013 – Works on Paper II, Quint Contemporary Art, San Diego, CA (USA)

2011 – Reality Bites, Post No Bills, Venice Beach, CA (USA)

2010 – Here Not There: San Diego Art Now, Museum of Contemporary Art San Diego, La Jolla, CA (USA)

2010 – Survey Select, Wonderbread Factory, San Diego, CA (USA)

2010 – Come As You Are, Prism, Los Angeles, CA (USA)

2010 – Total Eclipse: Kelsey Brookes, Kime Buzzelli, and Albert Reyes, New Image Art, Los Angeles, CA (USA)

2009 – Quint: Three Decades of Contemporary Art, California Center for the Arts, Escondido Museum, Escondido, CA (USA)

2009 – Retrospective, Laz Inc, London (UK)

2009 – Homing In: An Exhibition of 50 San Diego Artists, Quint Contemporary Art, La Jolla, CA (USA)

2009 – RVCAX Lodown, Lodown Gallery, Berlin (Germany)

2008 – See No Evil, Riverside Art Museum, Riverside, CA (USA)

2008 – Smash & Grab, Laz Inc, London (UK)

2008 – Open Day, Pictures On Walls, London (UK)

2008 – Scion Presents Installation 4 – Los Angeles, Scion Installation LA Gallery, Los Angeles, CA (USA)

2008 – AJ Fosik and Kelsey Brookes, White Walls Gallery, San Francisco, CA (USA)

2008 – Fairfax + Haight, RVCA, San Francisco, CA (USA)

2008 – A Benefit Show, Fecal Face Dot Gallery, San Francisco, CA (USA)

2008 – Semi-Permanent Art, Australia

2008 – Poster Renaissance, London (UK)

2008 – Welcome Home, Fecal Face Dot Gallery, San Francisco, CA (USA)

2008 – Gold Rush, Okay Mountain Gallery, Austin, TX (USA)

2007 – Opening Group Show, Lazarides Gallery, Newcastle (UK)

2007 – Santa’s Ghetto, West Bank, Palestine

2007 – Replace ‘Please’ with Fast & ‘Thank You’ with God, Lab 101, Los Angeles, CA (USA)

2007 – Out of Towners, Fecal Face Dot Gallery, San Francisco, CA (USA)

2007 – Brodeo, New Image Art, Santa Monica, CA (USA)

2007 – Installation Scion Art Tour 4 – NYC, The Reed Space, New York, NY (USA)

2007 – 10 Curators, Colette, Paris (France)

2007 – The Return of Sanity, Andenken Gallery

2006 – Santa’s Ghetto, Pictures On Walls, London (UK)

2006 – Giant Robot, San Francisco, CA (USA)

2006 – Rattle the Chandelier, Lab 101, Los Angeles, CA (USA)

2006 – Magpie, San Diego, CA (USA)

2006 – City Beat Art Show, San Diego, CA (USA)

2006 – KCDC + RVCA, Brooklyn, NY (USA)

2006 – The 125th Anniversary of the Internet, BLK/MARKT Gallery, Culver City, CA (USA)

2006 – TNT Inside-Out, Museum of Contemporary Art San Diego, San Diego, CA (USA)

2006 – Live Art Installation and Exhibition, RVCA, Seattle, WA (USA)

2006 – Stench, Seventeen Artists Kick Up a Stink, Lazarides, London (UK)

2005 – Santa’s Ghetto, Pictures On Walls, London (UK)

Selected Art Fairs

2014 – Miami Project, Quint Gallery

2014 – Untitled, Eric Firestone Gallery

2014 – Wynwood Walls, Miami, Library Street Collective

2013 – Art Los Angeles Contemporary, Quint Contemporary Art

2013 – Miami Project, Quint Contemporary Art

2010 – Art San Diego, Quint Contemporary Art

2008 – Aqua Miami, New Image

2007 – Aqua Miami, New Image

LI RAMET

b. 1983, San Juan, Argentina. Lives and works in Ibiza, Spain

Education

2003–2008 – BFA in Fine Arts, National University of Cuyo, Faculty of Arts and Design, Argentina

2005–2007 – MFA in Photography for Design, National University of Cuyo, Argentina

2011–2012 – MFA in Art Therapy, Autonomous University of Coahuila, Mexico

Selected Exhibitions

2025

● Invisible Threads, Estudio Laterna Gallery, Ibiza

● Not a House but a Memory, Rosenfeld Gallery, London, UK

2024

● Fragile Yearning, curated by Uli Widmaier Picasso, Museum de ses Coves Blanques, Ibiza

● En Tránsito, curated by Clemencia Labin, Raum Linksrechts Gallery, Hamburg, Germany

● Amynda-la, Almond, installation commissioned by Ayuntamiento de San Antonio, Ibiza

2023

● En Tránsito, curated by Clemencia Labin, Lucia Madriz, Fernando de Brito, Harro Schmidt, Claudius Strack, Paul Gregor, Michael Dörner, Museum de ses Coves Blanques, Ibiza

● Interwoven Realms, curated by Josefina Vilela, The Loft, Manhattan, New York

2022

● A Way to Emerge, private house, Ibiza

● Accrochage, Open Artist Collective Exhibition, Can Pep Rey, Ibiza

● 4 Elements, collective exhibition, La Luna Gallery, Ibiza, Spain

2021

● Inner Maps, The Cave, Six Senses, Ibiza

● Fulgoraria, solo show, Studio Exhibition Project, Ibiza

● Splash of Mayhem, collective exhibition, Solarium Art Space, Marseille

2020

● Visions from Somewhere, solo show, private home, Ibiza

● Alchemy of Her, collective exhibition, Atzaró, Ibiza

● Willing the Season, collective online exhibition, Far x Wide Project, New York

2019

● Ibiza Art Fair, Palau de Congressos d’Eivissa

● O, exhibition on eroticism, ADDA Gallery, Ibiza

● Mare Nostrum, Hush Gallery, Istanbul

● Ink, solo show, Van Gogh Gallery, Madrid

● Ink Series, solo show, The Culture Collective, ME by Meliá, Ibiza

2018

● The Subtle & the Dense, solo show, Can Quince, Ibiza

● Ink Universe, solo show, Sala Refectori, Old Ayuntamiento Dalt Vila, Ibiza

2015

● IRISOL, solo art therapy and video project, private studio exhibition, Ibiza

2012

● Poética, installation collaboration with poet Sohar Villegas, Galería Goya, Málaga

2008

● Kromosómicos–Luz Circuits, installation, The Garden, Argentina

Performances

2020 – Tu cuerpo, tu territorio, Balearic Open Call, TERRITORI Ibiza Performance Art Festival

2019 – Air.earth.plants.fruits, Ibiza

2018 – Magenta, Ibiza

2017 – Yellow, Ibiza

2017 – Círculo azul, Ibiza

2009 – Future, collaborative performance with Yamila and Verenice Marañón, MMAMM – Museo Municipal de Arte Moderno Mendoza, Argentina

Curation

2024 – ESPERANZA or the LONGING ISLAND, collective exhibition featuring Elizabeth Roselangford, Yvette Spowers, and Sohar Villegas, Museum de ses Coves Blanques, Ibiza

2022 – A Way to Emerge, artistic collaboration with musician Lo-Fang, performer Patrik Monique, and videographer Sohar Villegas

2022 – 4 Elements, collective women’s exhibition by ArtCollectiveIbiza, La Luna Gallery, Ibiza, Spain

2020 – Alchemy of Her, collective women’s exhibition by ArtCollectiveIbiza, Ibiza, Spain

Collections

● Mora Art Foundation (Private Collection)

● Sabina Art Collection, Sabina Estates, Ibiza

Awards

● Tu cuerpo, tu territorio, Balearic Open Call, TERRITORI Ibiza Performance Art Festival, September 2020

Residencies

2020 – Can7 Artist Retreat, Formentera, Balearic Islands

2019 – Artist Residency, National University of Cuyo, Faculty of Arts and Design, Argentina

Temporal Layers

Current Exhibition
Opening 19th March

“Time is not something we pass through—it is what shapes us, breaks us, and remakes us, endlessly.”

Estudio Laterna presents Temporal Layers, an exhibition that explores time and beauty not as fixed entities, but as forces in flux—accumulating, eroding, transforming. Like sedimentary layers, they mark our existence, inscribing traces that persist even as they fade.

Three photographers confront the impermanence of being through their distinct yet intertwined perspectives. Their works do not offer conclusions; rather, they invite contemplation of time’s ceaseless rhythm—moments dissolving as they are lived, vestiges lingering long after presence has passed.

An installation slowly decomposes over time, embodying the cyclical tension between decay and renewal. Just as a photograph captures an instant while hinting at its vanishing, the installation reflects the paradox of beauty, time, or existence: that which disappears is not lost, but transfigured.

Miguel Soler-Roig

Miguel Soler Roig’s work operates at the intersection of memory and constructed reality, where photography becomes a vessel for time’s erosion and reinvention. Trained at the Basel School of Design and the Rhode Island School of Design, his practice is shaped by a conceptual rigor that merges narrative with aesthetic precision.

His series La Ruina del Recuerdo documents his return to his childhood home in Barcelona after three decades—an introspective excavation of personal history, where architecture and recollection collapse into one another. Exhibited across three continents, Soler Roig’s images evoke a liminal space where the past is not simply remembered but actively reconstructed, lingering as both presence and trace. His work, shown at institutions such as the RISD Museum and PhotoEspaña, does not seek to document reality as it is but rather as it is felt—fragmented, elusive, and in perpetual transformation.

Houshyar Kashani

Houshyar Kashani’s black-and-white analogue photography resists the pull of the present, existing instead in a realm where time is both suspended and inscribed. Iranian-American by origin, Kashani’s artistic journey began in New York’s contemporary art scene, where he first engaged with images as a collector before turning to the act of creation itself.

A self-taught photographer, his practice was shaped under the mentorship of Larry Shaw, son of the renowned Sam Shaw, yet it remains deeply intuitive. Exhibited internationally since 2001, including at Les Rencontres d’Arles, Kashani’s work bears the meticulous imprint of a hand that understands photography not as documentation, but as an act of excavation: a search for what endures in the slow erosion of time.

Emile Durrer-Gasse

Emile Durrer-Gasse’s photography is an exercise in attunement to the ephemeral. Raised in Ibiza, his images are steeped in the island’s quiet luminosity, where time moves not in measured increments but in the slow dissolution of moments. With a background shaped by anthropology and travel, his sensibility is drawn to the fluid intersection of place, memory, and impermanence.

Working exclusively with analogue film, he embraces the medium’s unpredictability, allowing light, grain, and imperfection to dictate the final imprint. His images embrace photography’s paradox—its ability to preserve what is already slipping away, to render nostalgia not only as sentiment, but as an aesthetic and philosophical condition.

Martina Moscariello and Aurea Floral Studio

Martina Moscariello’s work explores the tension between materiality and transformation, turning discarded elements into new forms. Trained in screen printing in Paris, she later expanded into costume and set design, crafting entire visual worlds from recycled materials. Now based in Ibiza, her practice embraces organic processes, from botanical dyes to fiber manipulation. For Temporal Layers, her installation, in collaboration with Aurea Floral Studio, extends this dialogue—blurring the line between decay and regeneration.

A Meditation on the Ephemeral

We can examine beauty as a phenomenon that surpasses aesthetics. It is not an object to be possessed but an event—an unfolding that draws us into the mystery of being. Beauty, in this sense, is a threshold: a moment of recognition where time, memory, and perception converge.

This exhibition extends this inquiry into the realm of photography. The act of capturing an image is both an assertion against time and a surrender to it. A photograph crystallizes a fleeting instant, yet its existence is already a relic of something lost. In the same way, memory functions as both a refuge and an illusion—never fixed, never whole, but constantly rewritten in the mind’s ceaseless recursion.

The photographs in this exhibition exist beyond fixed chronology, resisting the imprint of time’s linear passage. There are no clear markers of when they were taken, nor by whom—only a quiet persistence of essence, where the ephemeral and the immutable converge, distilling time into a state of perpetual presence. In dialogue with this idea, Martina Moscariello’s installation, created in collaboration with Áurea Floral Studio, introduces a physical manifestation of this transience: its gradual transformation over time mirrors the elusive nature of memory and the fleeting quality of the moment.

“Beauty is not merely what pleases the eye; it is what reveals the hidden depths of existence. It is the quiet invitation to see beyond surfaces, to experience the infinite within the fleeting.”

Folds in Time, Miguel Soler-Roig

Arita 2, Houshyar Kashani

Swimming in Space, Emile Durrer-Gasse

Carlito Dalceggio

Past Exhibition – May/October 2024

As one approaches Estudio Laterna, one’s eye is first caught by the golden lilt of the swaying grasses and a tender symphony of sound. The gentle breeze guides the mind and body into and through the garden to the first work in Carlito Dalceggio’s triumphal exhibition, “Tierra Desnuda ”.

A metal cut out of an abstracted figure stands stoically in the centre of the bucolic space. The tenacity of the material contrasted by the surrounding soft figs dripping from their years old branches. A dove rests on his head, wings outstretched, ready to guide the visitor into the gallery itself in its pleasant and peaceful ways. Dalceggio was born in Canada, though has long been a citizen of the world. His work is often inspired and materialised through mythic & symbolic narratives; this becoming increasingly evident as one moves through the exhibition.

Almost all of the work in the series has been made in Ibiza. The colours he employs speak to this truth; ochre reds reminiscent of the rich iron soil, golds harking to the warm evening glow, tones of aquamarine to reflect the moving waters over varying depths in endless coves and caves. This oceanic reminder prevails beyond the work itself; the walls move with a tide-like quality created through a traditional Ibizenco way of plastering and layering. The work is in a constant successful conversation
with its spatial context – elevating both entities. This very notion is indicative of the exhibition’s narrative and the philosophy of Estudio Laterna – we must cultivate symbiosis in our relationships and our societies to elevate each other to a higher level than we could have reached alone. Dalceggio describes the style of his work as “Primitive Futurism”. The word primitive has come to be understood in modern society as an unpleasant description of something ‘lesser’. However, it is my understanding, which has been reinforced by this exhibition, that to Estudio Laterna x SmithVaitiare return to simpler ways is not always a step backwards – but often the most effective way to move forward. Taking advice from the past, such as the stylistic inspiration Carlito has taken from Matisse and Picasso, can structurally inform new ways of communicating in the now, and in the future.

Dalceggio’s work ultimately seeks to propose a new way, a more peaceful and positive future for mankind. He does this not only through the pure aesthetic joy his work conveys, but through the use of universal archetypes that we can relate to on a basic human level – the sun, the moon, the freedom of a bird’s flight, the conversation between man and nature.

In this way, the exhibition speaks for itself. It is nurturing, it holds the soul and frees the mind.

Eduardo Chillida Belzunce

Opening 4th October – 8pm

“Light is what, with its shadows, becomes my true teacher. “Light and the loss of fear of colors are the painter’s best friends.”

Eduardo has been solving paintings for a long time, immersed in that exciting adventure that produces miracles granted by the desire and need to express things. In his studio there is rest, classical balance, and everything happens in its own time just as the light changes according to the hours of the day. Because Edu needs daylight to paint, that light that becomes the main protagonist of his works; “vigorous and pregnant with shadows”, radiant and spontaneous in its amplitude. The light in his painting is always accompanied by color, blue above all because the life of this painter “is full of blue”, of the sky and the sea seen from “Intzenea”, the family house in Igeldo on the way to the lighthouse, San Sebastian.
He analyzes light from the “inside”, how it floods or invades the interiors of his studio and his house, or in the objects he touches or caresses.

In 1985 Eduardo had a terrible motorcycle accident that caused him to remain in a coma for a month and a half. Against all medical predictions, Eduardo manages to get out of that dark tunnel, recover his speech, walk, and finally, with great effort, return to normal life. Due to the paralysis on one side that he suffered after the accident, he is forced to use his left hand to continue painting.

“If I can’t sculpt I paint, if I can’t use my right hand I use my left; “art goes more in the head than in the hands”

Eduardo builds the painting. First he prepares it, because the emptiness, the white color of the fabric and the absence of paint bother him; Cover with acrylic, paint abstract shapes and surround them with a dark, black or blue halo. Then he draws, with black oil, long lines and slow movement, fits the composition and looks for perspective. Finally, he puts paint over all of the above but “it only covers where it needs to be covered” on the outside of the painting, since if we stare at the canvases we see that the color is behind, hidden and hidden, contained. He knows how to put color even in the shadows, he is capable of creating a polychrome black.

And he always does it in a direct way and without networks, on a space full of detonating acrylic colors that serve as the first primer and support for everything that he subsequently draws, fills and shapes, in a process of concealment and subtraction. Sometimes warmer oil colors, and other times with colder and more sober ones. These are their Orígenes and will be exhibited for the first time in public in the next exhibition in the Estudio Laterna gallery curated by Andrea Sánchez.

And although it seems that he always paints the same and unique picture, his intersected worldview and his multifaceted visions of his Intz-Enea house or any other space that falls before his frontal gaze, continue to teach us that the interior space is as rich and complex as the exterior, and that internal journeys are always more absorbing and magical than the mere variations of the landscape, figures and things. Vermeer and Bacon already experienced it this way at different times.

Like the painters assigned to the New Figurations and realisms of the 70-80s, he is interested in the personal and biographical story, the story of the spaces, the lights, the people and the things that motivate him and matter to him: his house and its different spaces, his work studio, his own image as a painter and the landscapes he observes from the windows of his house.

But, in this kind of “emotional self-portrait”, linked to the expressionist tradition, other issues also appear, such as “virtual spaces” that open from some first spaces, paintings within paintings, windows and mirrors, openings of an “expansive vision.” They are “spaces that enclose other spaces, like a set of Russian dolls or Chinese boxes.”

In his sculptures the metaphysical surrounds everything and even creates a pre-humanist sensation. The bodies are without clothes, not naked, because magic and ritual may not need them and because corporeality is thus more manifest.

Phenomena

Past Exhibition – December 2023/May 2024

Exhibition curated by Andrea Sánchez, featuring artists: Jai Vasicek, Danchú, Irene Cattaneo,
Javier Riera, Arturo Berned, Richard Hudson and Enric Majoral.
Curated by Andrea Sanchez, Phenomena exhibition translated the spirit of Estudio Laterna,
pushing boundaries beyond architecture and landscaping, connecting nature and its realms,
speaking the ever evolving language of the more-than-human. A nest of art in the heart of Ibiza island, manifesting a new perspective for local communities and international artists.
Date: December 2023/May 2024.
Phenomena
Estudio Laterna brought together different artists around the theme “Phenomena”, a project that through art awakens our understanding of ourselves and the universe.
The term “Phenomena” comes from the Greek φαινόμενoν, which means appearance or manifestation. When we speak of a Phenomena, we do not speak of the things themselves, but of how they appear to our understanding.
It is what Immannuel Kant considered as “the object of sensible experience” in “Critique of Pure Reason” (1781) and what the philosopher Edmund Husserl deepened with “the phenomenology” in the early 20th century.
On the other hand, Art is capable of capturing life and connects us with the source of our existence. If we look at the Art of ancient cultures, we observe how they experience being connected to everything: “… to think (…) things is to live in communion with them, to observe the images in order to enjoy and to see united the representations that are transported to human consciousness…” (“Mayan philosophy” , Miguel Hernández Díaz, p. 30 of the book “Latin American Philosophical Thought”, E. Dussel, E. Mendieta, C. Bohórquez, 2009).
Phenomena, curated by Andrea Sanchez, recovered this relationship between human experience and Art, and invited both creators and spectators to pay attention to how we observe in order to also see how they appear to us. It invited us to suspend our habitual way of reading the world, to wake up from our conditioning to constantly rediscover the phenomenon, to give it its voice and discover ourselves capable of seeing what has always been there… the whole universe in us.
Dr. Catherine del Carmen Alarcón Vásquez.
PhD in Education and Society from the University of Barcelona,

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