Puerta Roja is delighted to announce its participation in Art Stage Jakarta with Carlos Cruz-Diez, Laurent Martin ‘Lo’ and Javier León Pérez


Physichromie 1941, chromography on aluminium, 50 x 100 cm, Paris 2014


Puerta Roja returns to Indonesia for Art Stage Jakarta with outstanding works by master of Optical and Kinetic Art Carlos Cruz-Diez, and two emerging artists Laurent Martin Lo and Javier León Pérez.

(Hong Kong, 20 July 2017) Puerta Roja, the only gallery in Asia Pacific to specialise in Spanish and Latin American art, has been selected as one of the leading galleries from Hong Kong to participate in its second edition of Indonesia’s premier international art fair Art Stage Jakarta. Art Stage Jakarta will take place from 11 to 13 August 2017 at Sheraton Grand Jakarta Gandaria City Hotel. Curated by Founder Adriana Alvarez-Nichol, Puerta Roja will bring a strong mix of both established and emerging artists.

The highlight of the selected works will be the vibrant works by the internationally renowned Franco-Venezuelan artist Carlos Cruz-Diez who dedicated his life to the rigours research of colours, lines and perception. The artist’s most complex and celebrated series, Physichromie, will be presented by Puerta Roja for the first time at Art Stage Jakarta. Cruz-Diez began the series in 1959, using three-dimensional strips on a two-dimensional surface. Colours oscillate from one chromatic range to another, creating a kinetic experience is accordance to the viewers’ movement around the piece. The mathematically precise vertical bands harness the phenomena of colour reflection and interference to re-create mesmerising effects seen in nature. He also uses mechanisms of isolating and exaggerating colour contrast and harmonisation which is used not only in this series but throughout his work. From observation and investigation into the wonders of colour, Cruz-Diez generates virtual colours, present in the eyes of the viewer but not in the physical support. Hailed as one of the founders of the Op-Art and Kinetic Art movements of the 1950s, Cruz-Diez is part of more than 60 major museum collections worldwide including MoMA, Tate Modern and Georges Pompidou, and has been well appreciated in the Asia Pacific region since the 1980s, showcasing significant public commissions and exhibitions in Australia, China, Japan, South Korea and Taiwan.

Juxtaposing works by Cruz-Diez will be the mobile bamboo sculptures by Spain-based French artist Laurent Martin ‘Lo’. Lo’s bamboo sculptures immerse the viewer in the physical and sensorial virtues of the organic material. Closely bound to the forces of nature, Lo’s bamboo sculptures follow strict mathematical laws of balance and movement. His creations are gravity-defying, swinging in the air and drawing curves of harmony like the gracious strokes of Chinese calligraphy. Lo developed deep insight and knowledge into bamboo’s properties and craftsmanship through his travels to Southeast Asia including Indonesia, Thailand, Vietnam, Laos and Taiwan. His exquisite bamboo creations are well appreciated internationally as well as the Asia Pacific Region. Lo was recently invited by the National Taiwan Craft Research and Development Institute to participate in the Bamboo Traces Contemporary International Bamboo Art and Craft Exhibition. This exhibition is a worldwide collaboration project, gathering artists and designers from many different countries and cultures, exploring bamboo, a traditional material in Asia, from a modern context. His works have also been acquired by prominent collectors including Hong Kong renowned architect and collector Mr. William Lim.


Laurent Martin “Lo” Magic Bamboo Weathered bamboo, steel rings and hooks, titan braid thread 200 x 100 x100 cm 2013. Center: Carlos Cruz-Diez Couleur Additive Denise A Chromography on aluminium 180 x 80 cm Ed. 8 Paris 2007. Right: Javier León Pérez Ayuno #2 Estratum Series Japanese Paper, Acrylic Box 120 x 100 x 8 cm 2015.

In tune with Lo’s mobile bamboo sculptures will be the meticulous sculptural paper works by Spanish artist Javier León Pérez. In his stunning three-dimensional works, small elements of carefully cut Japanese paper overlay and interweave gracefully with each other. By repeating detailed processes, endlessly, fractal patterns emerged. Here the eyes are hypnotised by the flowing movement that entwines the macro and micro perspective together. These works have boundless interpretation, invoking associations to landscapes, tree roots or veins. In fact, this is because León Pérez’ extremely personal creative process follows the same structure as the underlying order of nature, as reflected in its organic forms. This concept has many parallels with the philosophical idea of Li (理), a concept found in Neo-Confucian Chinese Philosophy. The artist is the recipient of numerous awards in Spain and his work on Japanese paper was recognised in the Paper Biennial of Contemporary Art at the Museum Rijswijk in the Netherlands, and the Biennale of Contemporary Art Lalin in Spain. León Pérez’ works have been acquired by important Spanish collections, including La Caixa Foundation and DEARTE, and by prominent collectors in Hong Kong, Taiwan, Indonesia, Philippines and Korea.

Puerta Roja celebrates its upcoming 7th anniversary with ‘Collector’s Cabinet’

Toumani Camara Velázquez

Héctor Velázquez, Solveing og meteorit, bronze & meteorite, 27 x 8 x 7 cm, 2013

Collectors Cabinet

15.06.17 – 31.08.17

(Hong Kong, 13 June 2017) Puerta Roja celebrates its 7th anniversary as the only gallery in Asia Pacific specialised in Latin American and Spanish art with “Collector’s Cabinet”. The exhibition brings together a diverse range of artists represented by the gallery, including a selection from founder Alvarez-Nichol’s personal collection and juxtaposing them to highlight the common spirit that runs between them. 

Puerta Roja celebrates this summer its 7th anniversary as the only gallery in Asia Pacific specialised in Latin American and Spanish art with “Collector’s Cabinet”.  Since its foundation by Adriana Alvarez-Nichol, the gallery has focused on exhibitions that expand the understanding of Latin American artists’ contribution to the development of global art movements, selecting artists whose discourse remains relevant to Asia Pacific. Its programming has introduced master’s works from Mexican modernism to South American geometric abstraction. The gallery has supported the internationalisation of emerging artists and has presented ground-breaking new media installations by Miguel Chevalier as well as works by conceptual artists such as Carlos Aguirre and TRES Collective.

This exhibition brings together a selection of the diverse range of artists represented by the gallery, highlighting the common spirit that runs between their work and showcasing chosen works from Alvarez-Nichol’s personal collection. Challenging perceptions and stereotypes of Latin American and Spanish art, “Collectors Cabinet” juxtaposes the practices of artists working in different mediums, movements and times.

From the digitally generated pixels of Miguel Chevalier, Hector Velázquez’ yarn covered figurative sculptures to Casanova’s wood and bronze sculptures, the amazingly diverse mediums and techniques used are not only vehicles for visual communication, but reveal a story within themselves.

The dialogue between the classical, modern and contemporary is negotiated in the silver point oil paintings of Roberto Cortázar. His impeccable technique, seldom mastered by contemporary artists, intertwines figurative realism with gestural abstraction, altering the way in which objects are represented. Cortázar also constantly explores and references post-war movements in his work. The collocation of one of his figurative “kinetic” series paintings with that of Carlos Cruz-Diez, a precursor of the Op Art and Kinetic movement, provides insight into the role of the artist as an interpreter versus an inventor. The Cruz-Diez works in bold, graphic, abstract patterns expose the simple yet misleading mechanisms behind our perception of reality, presenting an ever-changing circumstance rather than absolute certainty. Ventoso, from a younger generation following on the footsteps of the likes of Cruz Diez, plays with that uncertainty with monochromatic three-dimensional planes.

Invitation images

Left: Javier León Pérez, Nuit #1, Return to the Silence Series, Oli on canvas,163 x 145, 2014 Center: Ventoso, DTi, Assemblage High Density Polymer,115 x 115 cm, 2015. Right: Robert Cortázar, Man and curvature in space No. 7, Kinetic Series, oil and silver point on wooden panel, 70 x 65 cm, 2011

Looking beyond representation as an exploration of the invisible metaphysical world is Irene Dubrovsky, whose work depicts images of constellation maps and celestial forms through the weaving of amate paper. The choice of material, as it is in the case of Laurent Martin Lo’s bamboo mobile sculptures or Cristina Moroño’s hand-made paper representations, is neither a purely practical or aesthetic solution, but a conscious decision to embrace materials charged with spiritual connotations.

Abstract expressionism re-defined the understanding of the art object, as it can be appreciated in José Luis Alexanco’s mature hand, but importantly allowed a focus on the creative process itself. Younger, emerging artists such as Javier León Pérez and María García Ibáñez have spun from the pure, intuitive marks of early abstract painting, to depict the micro and macro worlds that were once invisible through tactile practices and three-dimensional representations. Miguel Chevalier does that too with generative code, mimicking natures algorithms to create mesmerizing, visual fractalization. Weather it is the hand that moulds the vision or modern mechanisms, these artists tap into the geometry of nature.

In more direct manner, the conceptual artwork of Carlos Aguirre questions the structure of language and categorization, and TRES Collective explore the implications of public space and garbage through artistic practices that concentrate on the methodological intertwining and dialogue with science, anthropology, and archaeology among other disciplines.

Although Puerta Roja has a regional focus, this exhibition highlights the universality of its artists discourse, providing a platform for cultural exchange between one “periphery” culture and another… building direct bridges between Latin America and Asia without the need for western translations. Although there are vast differences in culture, geography and language, art can create communication beyond the confines of a single language and develop new and positive dynamics for globalisation.

Within the diversity of discourse and mediums by Puerta Roja artists, emerges a pattern of rigorous commitment to research, experimentation and practice. It is not a single style or form that brings these works to coexist on the same walls, but an intimate relationship with the material and concept, whatever that may be. It is here that the art may truly engage with the viewer, providing food for the soul in its breath-taking execution. It is through this deep negotiation with the creative process that Puerta Roja artists can create visually impacting work, not as an end in itself but as a tool to transmit their ideological messages and challenge the perceptions of the viewer.

Artists include: Carlos Aguirre, José Luis Alexanco, José María Casanova, Miguel Chevalier, Roberto Cortázar, Carlos Cruz-Diez, Irene Dubrovsky, María García-Ibáñez, Javier León Pérez, Laurent Martin “Lo”, Christina Moroño, TRES, Héctor Velázquez and Ventoso.

Puerta Roja presents Specially Curated Programme for Le French May 2017

‘Carlos Cruz-Diez: Mastering Colour’

Le French May Reception

11.05 | 6 – 8:30 pm



Installation shot of “Carlos Cruz-Diez: Mastering Colour” 2017, © Puerta Roja


24 April 2017 – HONG KONG: Puerta Roja is proud to present a special programme of events as an official participant in Le French May 2017. The gallery’s blockbuster exhibition Carlos Cruz-Diez: Mastering Colour – the first solo gallery exhibition in Hong Kong by the Franco-Venezuelan artist – is ongoing until 25 May and will be accompanied by events, talks and community engagement workshops, highlighting the theme of French culture and artistic presence. The programme will be launched with Le French May Reception at the gallery on the 11th of May from 6 to 8:30pm.

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Plafond Physichromie Passanger platform at the railway station Saint-Quentin-en-Yvelines 104 x 7.20 m, Paris 1980 Architect: R. Moro, ©ADAGP, Paris 2017

Hailed as one of the founders of the Kinetic and Optical Art movements of the 1950s, Cruz-Diez is part of more than 60 major museum collections worldwide and has been well appreciated in the Asia Pacific region since the 1980s, showcasing significant public commissions and exhibitions in Australia, China, Japan, South Korea and Taiwan. As one of the most influential artists of the 20th century, he received the Rank of Officer of the National Order of the Legion of Honour and of Commandeur of the Ordre des Arts et des Lettres for his contribution to French culture. Cruz-Diez’ works are part of numerous public and private collections, including the Centre Georges Pompidou, Musée d’Art Moderne de la Ville de Paris and MoMA. With Mastering Colour, Puerta Roja, introduces some of the most refined works by the artist to the region, capturing over six decades of tireless research into colour, line and perception, as well as experimentation with new materials and technologies.

Carlos Cruz-Diez relocated from Caracas to Paris in 1960 to further his career as an artist. This coincided with a trend of Latin American intellectuals looking to make their mark in the city seen as the cultural capital of modernization. Cruz-Diez joined a community of like-minded artists who were structuring a new discourse that challenged the traditions of the establishment, displayed in exhibitions such as Mouvement 2 at the Galerie Denise René of 1964. In the shadows of the two World Wars and the midst of the Cold War, the mentality was focused on change. Artists wanted to democratize art by collaborating on projects and showing work in public spaces. Advancements were being made to demystifying romantic notions with research, reason and mathematics. Cruz-Diez was no longer an individual artist breaking new ground, but a leading voice of the Op-Art and Kinetic movements.



With the aim of bringing the ideas of Carlos Cruz-Diez to the Hong Kong community, Puerta Roja is holding an educational program of events, talks and workshops, as part of Le French May. One of the highlights is an art workshop co-organised with The Sovereign Art Foundation as part of its ‘Make it Better’ programme for underprivileged children in Hong Kong. The workshop was designed in collaboration with the Cruz-Diez Art Foundation Learning Lab and will explain how colour is used in Cruz-Diez’s artwork. Puerta Roja will also hold a talk during its Le French May Reception on the 11th of May from 6 to 6.30pm, where the gallery founder Adriana Alvarez-Nichol will share her in-depth knowledge about Cruz-Diez and the history of the Kinetic and Optical Art movements.

In the words of Cruz-Diez: “Art and life cannot be separated because they are one in the same thing.” To celebrate this, Puerta Roja will invite the French music agency, Cliché, to curate an exclusive performance in the gallery space on 16th of May. This collaboration will establish the gallery’s first series of multidisciplinary events within its annual programme that integrates artwork with the community and presents moments for engagement with the younger generation.

Puerta Roja Founder Adriana Alvarez-Nichol says: “We are honored and excited to be participating in Le French May for the third time, especially when we are exhibiting such an influential and prestigious master as Carlos Cruz-Diez. I hope this special program will inspire curiosity within the community and continue our mission to share knowledge across continents.”


Congratulations to Laurent Martin “Lo”! The opening of Bamboo Traces at Contemporary International Bamboo Art & Craft Exhibition Taipei

 Laurent Martin “Lo” exhibiting at the National Taiwan Craft Research And Development Institute

Laurent Martin “Lo”, Galactic Sister, Weather beaten bamboo, steel rings and hooks fishing thread and ceramic ball, 150 x 110 x 120 cm, 2014 – 2016

Puerta Roja congratulates Laurent Martin “Lo” on the opening of Bamboo Traces – Contemporary International Bamboo Art & Craft Exhibition in Taiwan. The exhibition opened on the 29th of March with great success. The exhibition tells the story of bamboo, an ancient material, continuously evolving in modern times. Exposing the diversity of the material in its application to various disciplines and industries.  Lo is showing eight pieces, including some of his most ambitious and delicate work. Dried in the Mediterranean sun, theses hanging mobiles bring a contemporary and somewhat outsider vision to this traditionally Asian material. You can visit the exhibition until the 16th of July.


The gravity defying mobiles swing in the air, drawing curves like the gracious strokes of Chinese calligraphy. The artist creates tension using fishing wire between the bamboos natural segments, curving the golden ration out of the negative space in a room.  A fragile harmony is achieved through opposites: flexibility and strength, fullness and void, light and shadow, movement and quietness.

Lo’s work fits beautifully with the curatorial concept of the show; “While the art makers try to communicate with bamboo with their body, mind and the muscles of hands, creating works with the sense of philosophy and spirit, and presenting an alternative spiritual value of contemporary bamboo craft. Thus, the context of bamboo’s new contemporary craft movement is gradually formed.”


Puerta Roja Presents the First Gallery Exhibition by Carlos Cruz-Diez in Hong Kong

Carlos Cruz-Diez: Mastering Colour

20.03.17 – 25.05.17

Puerta Roja is delighted to present Mastering Colour – the first solo gallery exhibition in Hong Kong by Franco-Venezuelan artist, Carlos Cruz-Diez. Hailed as one of the founders of the Op-Art and Kinetic movements of the 1950s, Cruz-Diez is part of more than 60 major museum collections worldwide and has been well appreciated in the Asia Pacific region since the 1980s, showcasing significant public commissions and exhibitions in Australia, China, Japan, South Korea and Taiwan.

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Carlos Cruz-Diez, Physichromie 1920, Chromography on aluminum, 50 x 100 cm, Paris 2014

With Mastering Colour, Puerta Roja, introduces some of the most refined works by the artist to the region, capturing over six decades of tireless research into colour, line and perception, as well as experimentation with new materials and technologies.

Described as a “master of visual effect, a creator of art with connections to many movements and ‘isms’” by the Wall Street Journal, Carlos Cruz-Diez has had a profound influence on artists around the world, including Chinese performance artist and photographer Liu Bolin. Recent large-scale grid structures from his celebrated Physichromie series, which Cruz-Diez began in 1959, seemingly depict a flat surface of vertical bands rendered in a contrasting palette and arranged with mathematical regularity into multiple geometric planes. As the viewer moves around the works, their colour dissolves and radically oscillates from one chromatic range to another, generating new ranges of colour not present, but based on individual visual perception. Yet behind the spectacle and ethereality of the works lies rigorous scientific research and painstaking method. Each structure is carefully designed to create what Cruz-Diez calls a “light trap” in a space where a series of colour frames interact and transform each other as they are seen from different angles.

Multiple perspectives of: Carlos Cruz-Diez, Physichromie 1920, 100 x 150 cm, Paris 2014 .


Like Physichromie, other influential series on show at Puerta Roja, such as Induction Chromatique and Couleur Additive, can be seen as live experiments that create an infinitely evolutionary situation of additive, reflective, inductive and subtractive colour. The destabilisation of the eye in Cruz-Diez’s work serves a dual purpose. On the one hand, it sets out to explore the physical effects of colour on the viewer, transforming their experience of art from passive into active. On the other hand, it encourages the viewer to experience colour as equivocal and continually changing, much as it is experienced in nature.

Commenting on the works that will be on exhibition at the gallery, Cruz-Diez says: “I speak about realities not to imitate them but to provoke them. The Physichromies are an invention to express myself with the delight of a painter in action, in which ‘the making of the painting’ can be observed, stripped from traditional concepts and techniques. The colour that reaches the eyes has been painted and remains suspended in time; my pieces, on the contrary, confront viewers with colour created in the instant, in real time.”

Carlos Cruz-Diez: Mastering Colour will also feature a site-specific installation and interactive elements that will further challenge the visitors’ experience of colour and perception.

“We are honoured not only to have this exhibition for one of the most influential artist of the 20th century at Puerta Roja, but also present his iconic oeuvre to the Hong Kong audiences, strengthening our programming to further enhance the awareness of Latin-American contemporary artists in the Asia-Pacific region” says Adriana Alvarez-Nichol, Founder of the gallery.

We are thankful to Robin Peckham for his contribution to the exhibition catalogue, an insightful and unique viewpoint into the world of Carlos Cruz-Diez from the perspective of today’s Asia Pacific. To view the full catalogue please click here.

The exhibition opens to the public on 18 March and will be celebrated on 20 March as part of the Hong Kong Art Gallery Association’s “Art Gallery Night” in conjunction with SOHO 189 ArtLane, which brings together Leo Gallery, Galerie Huit, Pearl Lam and Puerta Roja. Since its grand opening during Art Basel week in March 2015, SOHO 189 Art Lane has become one of the city’s most exciting and diverse art destinations for local and international collectors as well as the general public. Mastering Colour runs through May 25, as a special project of Le French May programme.

Induction Chromatique Série Gabo 30B

Carlos Cruz-Diez, Induction Chromatique Série Gabo 30B, Chromographgy on aluminium, 90 x 90 cm, Ed. 8, Panama 2011

Public Opening
20.03  .  6 – 8pm
Collector’s Brunch
24.03  .  10am – 1pm
24.03 12:30pm – 1pm
Adriana Alvarez-Nichol
Carlos Cruz Delgado
Mariana Cruz Ramirez
Extended Hours
21 – 25.03  .  9am – 9pm

Puerta Roja is proud to present “Dreamed Gardens”, “Trans-Natures”, and “Digital Water Lilies” by Miguel Chevalier

“Dreamed Gardens”, “Trans-Natures”, and “Digital Water Lilies”

Miguel Chevalier

14.02 – 19.03

Welcome the Spring in Shanghai with a brand new series by Miguel Chevalier, “Dreamed Gardens”, “Trans-Natures”, and “Digital Water Lilies”, especially created for Jing An Kerry Centre, Shanghai.

Join us on February 14th for the Grand inauguration in Shanghai!

To receive more information on the show, please e-mail us on info@puerta-roja.com


©Miguel Chevalier, Trans-Nature


©Miguel Chevalier, Digital Water Lilies


©Miguel Chevalier, Dreamed Gardens



Puerta Roja is proud to present, “Sensorial Geometries – from Argentina to the World”

 Sensorial Geometries, from Argentina to the World

Artists: Antonio Asis, Mariano Ferrante, Luis Tomasello, Ventoso

03.11 – 3.12. 2016

(Hong Kong, 11 October 2016) Puerta Roja, pioneering the introduction of Latin American artists to Asia since 2010, presents Sensorial Geometries, from Argentina to the World, an exhibition of Argentinean Geometric and Op Art including works by masters Luis Tomasello and Antonio Asis, together with Mariano Ferrante and Ventoso representing the movement’s new generation.

Last year marked the 50th anniversary of Op Art, the international art movement that used optical illusions and geometric patterns to produce effects that both confuse and stimulate the eye. The movement was first formally recognised after New York’s MOMA presented the seminal show “The Responsive Eye” in 1965. The eye-catching, imaginative and vertigo-inducing paintings and 375sculptures swept the art world and enamoured viewers and the media.

The incorporation of the viewer himself as a key component of the work, and the straightforward unpretentious representations, made the art inclusive, a universal language of optimism that could reach all. Such ideas brewed deeply in Latin America and since the 1930’s diverse currents of geometric abstraction were developed by artists, particularly from Argentina and Venezuela. Fuelled by optimism and idealist notions of progress, South American artists looked to change the world through reason and order.

After an amazing run, the reception of Op Art started to decline and conceptual art became the next “big thing”. However, the strength of its philosophical ideals would ensure the movement’s lasting legacy and current revival. Over the last two decades, the development of Geometric Abstraction and Op Art, including the importance of South American artists in its development, has been the subject of a myriad of exhibitions around the world. These exhibitions re-establish the enormous influence of the great artists from the 20th century but also open the door to revaluate the relevance of the movement to young contemporary artists and for society in the 21st century.

Adriana Alvarez-Nichol, founder of Puerta Roja and curator of the show states: “Technology and modern materials have undoubtedly open new paths for contemporary artists to explore new variations of colour theory and optical illusion. Most importantly however, is that the essence and profound undercurrent of optimism and democratisation of art is more important than ever. Amidst our present troubled era, experimenting with illusion is not a sign of denial but one of hope for the future.”

The exhibition Sensorial Geometries at Puerta Roja presents the work of four Argentinean artists exploring the universal language of geometric and optical expressions each with a very individual and personal perspective.  The exhibition contrasts the work of 20th century master Luis Tomasello, where Antonio-Asis-ST4economised and minimalist structures are filled with the vibrations of light, with the exuberant and colour saturated paintings by young talent Mariano Ferrante. Antonio Asís works dazzle and almost confuse with psychedelic intensity, despite the inherent
simplicity of the execution.  Ventoso, a new artist to Puerta Roja exhibiting for the first time in Asia, furthers Tomasello’ s three-dimensionality and Asís’ optimal illusions by presenting a unique language of sculptural and tactile polymer constructions or
“assemblages” that tease and defy the perceptions of the viewer.

The works of these endowed four artists, masters and emerging talent, will create a myriad of sensorial emotions and a memorable sense of belonging, of personal relevance in the viewer. Such were the ideals of the artistic movement from the 1960’s that remain as, or more, relevant today.

Puerta Roja is proud to present “Second Chance” by Cristina Moroño

S e c o n d   C h a n  c e

Cristina Moroño

22.09 – 29.10

(Hong Kong, 23 August 2016) Puerta Roja kicks off the fall art season with the first solo exhibition in Asia by Hong Kong based Spanish artist Cristina Moroño. “Second Chance” presents a new series of works where objects and discarded books are plunged into Cristina’s own handmade paper, which plays both as content and canvas.


Cristina Moroño is an artist in pursuit of constant experimentation whose trajectory has been recognised and awarded by notable institutions such as the Joan Miró Foundation. Merging different practices, including photography, etching, engraving, collage and paper making, Cristina oscillates between the figurative and the abstract.

The Spanish artist has worked in Madrid, New York and now in Hong Kong, where she has produced her most recent series of works titled Second Chance which deepens the artist’s interest in experimentation by making her own paper. Blithely following in the footsteps of Antoni Tàpies’ “art informale” and its revolutionary use of mixed media and everyday objects, Cristina incorporates non-artistic materials into the work.

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The creation of handmade paper is crucial, with the material serving as both canvas and content. In this series, she plunges elements of old books, paint and objects into the raw pulp. The result is a single sheet where the essence lies not in the perfect agglutination, but in the imprint, the wearing and natural perishing of the amalgamated elements. The objects’ fading hues and texts are juxtaposed with the brand new paper and sharp colours of the paint, reflecting a vanishing past and a fleeting present. Each is a personal memento documenting a particular time in her life.

The artist reflects on her new works: “Throughout my career, I have made works on paper, paintings, etchings, photography and ceramics that often depict the passage of time. Objects and people continually fade around us, too often without notice. In a time when the digital supplants the print format, I give these randomly found discarded books a second life… a Second Chance”. 

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 The almost vanishing figurative elements give way to a form of abstraction that is intimate, perhaps echoing the ephemeral nature of our lives. By merging old found objects and new materials, Moroño grants the objects a new opportunity to express their form and substance and bestows them with new meanings.

Adriana Alvarez-Nichol, founder of Puerta Roja states: “We have been following Cristina’s work for a few years and we are thrilled for the gallery to now represent her in Asia. Since she relocated from New York to Hong Kong last year, we’ve been enthralled by her desire to experiment with something completely new, to reinvent herself and her work in this new stage of her career as an artist. Witnessing her working in her new studio in Ap Lei Chau, we see an artist for whom an intimate involvement in the process itself generates works of amazing maturity. The glimpses of old texts from abandoned books give these abstract paper landscapes a connection to the past whilst bringing new life to objects otherwise forgotten.”

Roving exhibition ” Ubiquitous Trash – Hong Kong Edition” in Puerta Roja

Ubiquitous Trash – Hong Kong Edition


Presented by WMA Commissions

(Hong Kong, 25 June 2016) Puerta Roja is honoured to support  Mexican art collective TRES, winners of the WMA Commission and their exhibition “Ubiquitous Trash – Hong Kong Edition”.

The exhibition and book launch will take place at Connecting Spaces on July 2 and will be extended to our gallery space at Soho 189 Art Lane from July 21.
Ubiquitouscu lata copy Trash is a research project into the social life of the strange abandoned objects we call trash. Parting from incessant walks and obsessive scavenging across the city of Hong Kong, TRES explores the signs and marks imprinted on trash collected from public spaces and official waste sites. The research gave rise to the book Ubiquitous Trash, Hong Kong Edition, where the intertwining of public space and trash became amultiplicity of unfolding relationships and decoding of the sociopolitical from an artistic perspective. The series is designed to develop and activate an archive of global trash taxonomy.
The research gave rise to the book Ubiquitous Trash, Hong Kong Edition, where the intertwining of public space and trash became amultiplicity of unfolding relationships and decoding of the sociopolitical from an artistic perspective. The series is designed to develop and activate an archive of global trash taxonomy.
 dibujos vita frente
This exhibition furthers the book research with a selection of images and objects with varying intensity. TRES explores the tension between the macro and the micro details that emerge from the translation of trash into photographic images or drawings. In each refuse object a gesture remains, allowing us to gain insight into human culture. Trash is everywhere, all thetime. We do not cease to produce it, and it does not disappear. TRES believes trash helps enhance our understanding of the contemporary society because “its informational character, its capacity to store material, economic and symbolic information can be used to elaborate individual or collective portraits of our society”. Trash tells us who we are, butit also reveals what we decide to leave aside, out of sight.
The book Ubiquitous Trash – Hong Kong Edition in Chinese and English will be presented at the exhibition and can be acquired in Puerta Roja or Connecting Spaces.
TRES employs the intimate view that photography provides, as well as collected objects, drawings, and site-specific research methods. The essays of Jérôme Monnet, Charles Merewether, and Héctor Castillo Berthier extend the exploration of trash into other disciplinary views.P-085-L-Ubiquitous Trash-TRES-Cover-02 copy-1