William Anastasi (1933-2023) was a contemporary American artist considered a pioneer of Conceptual and Minimal Art. As evinced in his series of Subway Drawings along with his many site-specific installations and sound works, Anastasi’s interests lie in meditation and everyday experience rather than creating a esthetically beautiful objects.

Mitchell Anderson (b. 1985) uses existing objects and imagery in a body of work that explores contemporary and historical contradictions, the humor and tragedies of existence. In a broad multi-media practice, Anderson presents contemplative objects of collective hope and failure and questions the narrative capabilities and codes of the visual and physical.

Avantgardo (b. 1996) is a mexican graduate of the San Francisco Art Institute. His work is characterized by combining different cultural devices to explore desire and its manifestations in consumer culture. He proposes cheap luxury and pop simulacrum as concepts to understand the constitutive role of consumption and spectacle in subjectivities.

Jane Benson (b. 1973) is known for interventions into existing works of art, literature, and found objects. Benson's multidisciplinary and research-based approach spans the mediums of sculpture, sound, digital media and prints. In layered and contemplative works, Benson splits, fractures and skews archetypal structures, fake plants, flags, musical instruments, only to reassemble them through her investigative practice.

Antoine Catala (b. 1975) uses lo-fi and analog technology as a riposte to the digital virtuosity of todays media. Shot through with jokes and wordplay that often mask a certain seriousness, his works display a material and conceptual continuity founded equally on the aesthetics of science and semiotics.

Aaron Curry (b. 1972) makes sculptures and paintings whose relationship to modernism is productively fraught.

Incorporating a wealth of elements from popular culture-science fiction, video games and cartoons, Curry has developed a body of work that is both a recognizable continuation of art historical narratives and a caustic, critical, and often a hilarious take on the established order.

Catharine Czudej (b. 1985) destabilizes and displaces common objects and conventions with a humorous approach. By inverting and manipulating the familiar, she makes sculptures, installations, paintings and films, with an often unnatural and absurd feel.

Chelsea Culprit (b. 1984) explores the performance of gender in the labor market and the expression of gender in

the natural world. The artist reinvents subjects and techniques of historical painting, recoding the latent symbols of patriarchy toward an expanded social imaginary. Composed of feelings as much as descriptions, Culprit's work entangles representations of the body's capacity for work, play, display, expression, the performed authenticity of

identity, and the intractability of freedomand personal bondage.

Olivia Erlanger (b. 1990) works across sculpture, film, writing, and performance to examine American dreams and delusions. Mining the myth of suburbia, affords the artist a focus on the semiotics of the periphery, analyzing its architecture, infrastructures and ecosystems.

Franz Erhard Walther (b. 1939) places the human being at the center of a work idea that no longer separates the viewer and the viewed, but places both in a dynamic relationship. His wall formations and sculptural framings invite each guest to interact with the artwork physically and/or mentally.

Tony Feher (b. 1956) recasts the utilitarian and familiar into sculptures elegant and ambiguous in their perceived

simplicity. The results are installations both vulnerable and poetic in their presentation, contemplating the endurance of form against the transience of meaning.

Michel François (b. 1956) explores a variety of media including installation, video, sculpture and photography, often combined and linked to create a larger idea. Through these various techniques and materials, François comments on the relationships and contradictions that we face in our public and private lives.

Romeo Gómez López (b. 1991) creates a dynamic exploration of contemporary social struggles, such as religion, political figures and science fiction. His work confronts the challenges of surviving in a rampant capitalist world, while boldly questioning the dominance of compulsory cisheteronormativity in the arts. Infused with humor and an unapolagetically erotic vision, he transforms desire into a powerful generator of sensibility and critique.

Abraham González Pacheco (b. 1989) is a visual artist, set designer, draftsman, and amateur excavator. His work explores an approach to his familial and personal origins in relation to the missing historical core of his hometown. From this starting point, he reflects through drawing on archaeological fictions found at the intersections of power structures and acts of institutional corruption, which he translates into sanded graphite murals and large-scale installations.

Robert Grosvenor (b. 1937) has eluded artistic categorization during his more than fifty-year career, producing diverse, singular works that explore the spatial dynamics between object, architecture, and viewer. His work was included in the seminally important group exhibitions Primary Structures [Jewish Museum, 1966] and Minimal Art (Gementemuseum Den Haag, 1968].

Liz Glynn (b. 1981) has worked in sculpture, installation, and performance, examining the ways in which cultural objects of the past embody or confront power dynamics, social structures, and systems of value. Her work has been the subiect of important one-person shows including "The Archaeology of Another Possible Future," a yearlong exhibition at the Massachusetts Museum of Contemporary Art in North Adams (2017).

Liam Gillick (b. 1964) is a New York based artist whose work is divided between abstraction based on social and political structures of the present and texts, films and graphics that often appear to contradict and comment upon the apparent clarity of his structures. Gillick's abstract works are derived from the secondary structures emerging from an information based society of renovation, negotiation and discourse.

Marie Hazard (b. 1994) is a Paris based weaver and artist whose work bridges traditional craftsmanship with industrial textile techniques. Her practice integrates media such as photography, painting, and literature, allowing her to reinterpret both ancient and modern techniques.

Gabriela Hearst (b. 1976) grew up on her family's ranch in Uruguay, where the notion of luxury meant things were beautifully crafted and made to last which inspired the launch of her eponymous label in Fall 2015. She wanted a brand that reflected purpose in every piece - luxury collections with a conscience, Or "honest luxury". Gabriela Hearst's runway shows have been a pioneering example of sustainability, using deadstock fabrics, and eliminating plastic use. Her Spring Summer 2020 collection marked the first ever carbon neutral runway show.

Rashid Johnson (b. 1977) is among an influential cadre of contemporary American artists whose work employs a wide range of media to explore themes of art history, individual and shared cultural identities, personal narratives, literature, philosophy, materiality, and critical history.

Jean Katambayi Mukendi (b. 1974), trained as an electrician, bases his entire artistic practice with his fascination for mathematics, engineering, geometry, and technology. His works are part of a search for solutions to social problems in current Congolese society, as well as to the country's depletion of its enormous energetic resources. Often made of recycled and impermanent material, such as cardboard and recycled electronic material, the artist's poetic pieces attempt to redress the imbalance of the world's hemispheres.

Jon Kessler (b. 1957) critiques our image-obsessed, surveillance- dominated world with his chaotic kinetic installations. His machines are at once complex and lumbering, combining mechanical know-how with kitschy

materials and images. Structurally complex and narratively engaging, Kessler's multimedia sculptures often deliver an emotional punch beyond their humble means.

Marc Leschelier (b. 1984) is a French sculptor and architect who builds architectures without function, entitled pre-architectures, in unmarked spaces, sculpture parks or any situation exempt from urban regulations. This singular absence of use in his constructions transform architecture as an autonomous vocabulary. The work expresses itself through the development of unofficial and alternative constructive systems in order to conceive a fundamentally independent architectural form.

Siobhan Liddell (b. 1965) is a painter and sculptor whose work deals with the space between knowing and unknowing, the mystery in the everyday, history and the continuum of desire to record and create our unique worlds. She has collaborated with artists, dancers and musicians and was the recipient of the Rome Prize: Vera List Fellowship 2011-12.

Lorenza Longhi (b. 1991) chooses elements which act as a statement that refer to, and serve as, power structures. This is obtained through re-production with crafty techniques and methods, using non traditional yet highly specific materials and labours. Lorenza Longhi's works imply the reproduction of specific objects or visual elements from furniture pieces to elements taken from advertisements and communication strategies.

Markus Lüpertz (b. 1941) is a key figure in postwar German art, known for his bold paintings and sculptures that blend figuration and abstraction. His work often references mythology, history, and literature, while also engaging deeply with the act of painting itself. He developed the concept of “dithyrambic painting” and consistently challenged trends in contemporary art. Lüpertz also served as director of the Kunstakademie Düsseldorf, mentoring a generation of artists.

Chavis Mármol (b.1992) creates work that explores memory, identity, and the transformation of everyday materials. His practice spans sculpture, drawing, and installation, often using minimal gestures to shift the meaning of utilitarian objects. There is a poetic austerity in his interventions, highlighting traces of labor, function, and cultural value. His subtle approach invites reflection on what is visible and what remains unseen.

Emanuele Marcuccio (b.1987). His practice centers on the relationship between the body and architectural space. Working primarily in drawing and sculpture, he uses simple, often raw materials to construct forms that suggest tension, fragility, and intimacy. His work is concerned with the poetics of space and human interaction. The resulting pieces feel meditative and materially precise.

Christine McHorse (1948-2021) was a groundbreaking Navajo artist who revolutionized traditional Native American ceramics. She used micaceous clay to create sleek, black, abstract forms that merged tradition with modernity. Her work departed from utilitarian vessels and moved into the realm of sculpture, establishing a unique and influential voice. McHorse’s work bridged cultural heritage and contemporary aesthetics with elegance and strength.

Hugo Montoya (b.1978) works with industrial and everyday materials, creating sculptures and installations that emphasize physicality, repetition, and tension. His pieces often challenge gravity and structural logic, creating a visual and spatial tension. By using materials like glass, concrete, and metal, he reconfigures expectations about utility and permanence. His minimalist approach results in impactful, object-based gestures.

Roger Muñoz (b. 1990) practice is rooted in storytelling and symbolism, often exploring personal and cultural narratives through painting, sculpture, and drawing. His work plays with scale, texture, and material to create compositions that feel both tactile and metaphoric. Muñoz blends abstraction with figuration in ways that evoke memory and ritual.

Berenice Olmedo (b. 1987) focuses on the human body and its socio-political implications. Using prosthetics, orthopedic devices, and medical materials, she constructs sculptures that examine vulnerability, disability, and the body’s role in systems of care and control. Her works disrupt traditional aesthetics of beauty and function. Through these interventions, she opens space for reflection on bodily agency and identity.

Damián Ortega (b. 1967) is known for deconstructing and reconfiguring everyday objects—cars, tools, furniture—to investigate social and economic systems. His work often includes humor and improvisation, as well as precise engineering. By suspending or fragmenting objects, he reveals their internal logic and hidden structures. Ortega’s conceptual yet accessible approach has made him a key figure in contemporary Latin American art.

Pia Camil (b. 1980) work spans installation, performance, sculpture, and textiles, often inviting viewer participation. She explores themes of consumerism, urbanism, and architectural modernity, particularly within the Mexican context. Her use of second-hand clothing and large-scale fabrics references both personal and collective histories.

Wilfredo Prieto (b. 1978) is a conceptual artist whose works use minimal resources to create maximum effect. He manipulates everyday objects to shift their meaning and provoke thought, often with irony and elegance. His gestures are subtle but layered with political, economic, and philosophical implications. Prieto’s installations and interventions question systems of value and perception.

Jessi Reaves (b. 1986) produces hybrid sculptures that blur the line between furniture and artwork. Using upholstery, wood, and found materials, her pieces are simultaneously functional and expressive. Reaves embraces imperfection, deconstruction, and the handmade, challenging design’s emphasis on cleanliness and polish. Her work is tactile, performative, and deeply embedded in domestic aesthetics.

Manuela Riestra’s (b. 1998) practice incorporates photography, installation, and writing, with a focus on subtle shifts in perception and language. Her work often revolves around overlooked spaces or objects, engaging with silence, emptiness, and the traces of human presence. There is a poetic sensibility in her minimalist gestures. She encourages viewers to slow down and attend to the intimate and ephemeral.

Michael Ross (b. 1954) is best known for his extremely small-scale sculptures, often no larger than a few centimeters. These miniature works require close viewing, rewarding patience and attention with precision and wit. Ross uses everyday materials—wire, paper, screws, dust—to create poetic micro-installations. His practice questions the monumental tradition in sculpture and highlights intimacy, fragility, and care.

Ugo Rondinone’s (b. 1964) multidisciplinary work includes sculpture, painting, video, and immersive installation. He often draws on archetypes, seasons, and emotional states to create meditative environments. Known for his brightly colored rock sculptures and neon texts, Rondinone juxtaposes humor with melancholy, presence with absence. His work invites introspection and sensory awareness.

Machteld Rullens (b. 1988) transforms cardboard boxes, packing tape, and industrial remnants into textured, painterly sculptures. Her works retain the original material’s utilitarian feel while being elevated through composition and color. Rullens emphasizes process, spontaneity, and surface, embracing imperfection. The result is an abstract, raw language rooted in the everyday.

Sven Sachsalber ( 1987-2020) was known for his durational performances and conceptual works that often involved physical and emotional endurance. Humor, absurdity, and sincerity coexisted in his practice, which frequently centered on personal narratives. Sachsalber’s work was deceptively simple but deeply human.

Loup Sarion (b. 1987) works across sculpture, installation, and video, exploring bodily gestures, sensuality, and transformation. His forms are often soft, organic, and color-saturated, suggesting skins, folds, or limbs. Through playfulness and tactility, Sarion investigates how the body is represented and abstracted. His work balances humor and intimacy.

Gedi Sibony (b.1973) creates spare, meditative works from discarded materials like carpet, drywall, or aluminum tubing. His sculptures often look accidental or provisional, emphasizing quiet presence and subtle shifts in space. Sibony invites viewers to tune into the overlooked and the transient. His minimalism is rooted in intuition and restraint.

Brian Thoreen (b. 1979) blurs the boundaries between art, design, and architecture, creating both functional objects and abstract sculpture. He works with glass, rubber, resin, and metal, pushing materials to their expressive and structural limits. His objects highlight material behavior, balance, and tension. Thoreen’s practice is sensual and experimental, often revealing the beauty in rawness.

Rosemarie Trockel (b. 1952) is a leading voice in contemporary art, known for her intellectual, ironic, and feminist approach. Her work spans sculpture, painting, video, and textiles—particularly her machine-knit “paintings” that subvert gender and art hierarchies. Trockel’s practice is interdisciplinary and provocative, often addressing the roles of women, artists, and animals. Her visual language is both rigorous and open-ended.

Andra Ursuţa (b. 1979) creates emotionally raw sculptures that combine cast body parts, found materials, and allegorical forms. Her work addresses trauma, identity, mortality, and power through a visceral aesthetic. Ursuţa often references Eastern European history, folklore, and contemporary violence. Her practice is intense, complex, and unapologetically physical.

Kaari Upson’s (1970- 2021) psychologically charged installations and sculptures explored memory, obsession, and trauma. She often used her own body in cast works and created fictional narratives based on found objects. Her long-running “Larry Project” blurred autobiography and invention. Upson’s work was haunting, layered, and deeply personal.

Rachel Whiteread (b.1963) is renowned for her cast sculptures of negative spaces—from the underside of chairs to entire interiors. Her work investigates memory, absence, and the architectural imprints of lived experience. Using industrial materials like resin and concrete, she renders the invisible visible.

Jesse Wine (b.1983) works primarily with ceramic sculpture, often creating figurative, humorous, and highly personal forms. His pieces may reference art history, self-portraiture, or bodily functions with a playful irreverence. Despite their casual tone, his works are technically complex and emotionally resonant. Wine explores vulnerability, identity, and domestic life with tenderness and wit.

Yves Scherer (b.1987) blends romanticism, celebrity culture, and personal memory in sculptures and installations. He often uses 3D scanning and digital fabrication to create life-sized portraits of stars or intimate figures. His work questions desire, image construction, and mediated intimacy. Scherer’s aesthetic merges digital slickness with emotional nostalgia.

Untitled (There Is No Such Thing as Outside)

Galería Mascota Valladolid #33 Colonia Roma Norte 06700, Cuauhtémoc CDMX, México +52.55.4143.8380 info@galeriamascota.com

Galería Mascota ©. Copyright 2025 Gallery in Mexico City

Galería Mascota
Valladolid #33
Colonia Roma Norte
06700, Cuauhtémoc
CDMX, México
+52.55.4143.8380
info@galeriamascota.com

Galería Mascota ©. Copyright 2025
Gallery in Mexico City