Posts

Archives

“Hokol Vuh Aké”, Ixrael Montes. Presented in Merida, Mexico, the project mixed the main motifs of the Oaxacan artist: the jungle, the animals, lizards and mythology interact in a human environment.

Hokol Vuh Aké

Ixrael Montes

This collection is a selection of Ixrael Montes’ most visually and mentally stimulating pieces. The setting we have selected to showcase them, Hokol Vuh, in the coast of Merida mingles perfect with the motifs of the Oaxacan artist. The jungle, the animals, lizards and mythology interact in a human environment.

[/vc_carousel_son][/vc_carousel_father]

Ixrael Montes

“The inspiration is subjective and almost unearthly, however, the motivation comes from different elements in a permanent search…”

Ixrael Montes is a visual artist and his work has been exhibited in both individual and collective exhibitions among Mexico and other countries. ‘Inspiration is subjective and almost implausible,’ says the artist when referring to the origin of his works.

Ixrael Montes was born in a small community of the Costa Chica, in Oaxaca, Mexico, in 1971. He spent his childhood enjoying the peculiar vegetation of his hometown and grew among cows, herons, iguanas and dogs. In 1991, when he was 19, he moved to Oaxaca City to study visual arts at Escuela de Bellas Artes de la UABJO, where he met a teacher that would become a great influence in his art and life, master Takeda. He has devoted 20 years to painting. His work references everyday scenes that generally go unnoticed by most, and has hints of irony that play with the leading roles of the characters and elements he uses in his fabrics. Montes constantly resorts to images of animals and landscapes reminiscent of his childhood.


After 18 years of uninterrupted painting, Ixrael Montes’ work has constantly evolved, from figurative and magical to abstraction and lately, to a fusion of the two genres.


Throughout his path, he has experimented with different techniques and materials. His painting is a little graphic and contrasted with a very ironic theme, and influenced by Africanized coastal masks.

He believes that his subject alludes to everyday scenes that usually pass unnoticed ‘tinged somewhat ironic to pay the role of the character and element that I use in my paintings.’

Ixrael Montes, “Laguna de Chacahua”,Mixed media on canvas,  24×49 cm.

Ixrael Montes, “Caimán bajo la luna”, Acrylic on Canvas, 130 x 165 cm.

Ixrael Montes, “Nido”, Bronze Sculpture, 35x30x15 cm.

“The Private Showroom”, Ardan Ozmenöglu. For this project we have selected a series of portraits ranging from super star Frida Kahlo, over Lady D and Kate Moss.

The Private Showroom

Ardan Ozmenöglu

I came across Ardan´s Ozmenöglu art pieces  back in Istambul in 2017. Since then, the idea of featuring her work caught my attention. For this first gathering, we have selected a series of portraits ranging from super star Frida Kahlo, over Lady D and Kate Moss. The challenge was big: can someone  feel intrigued contemplating  such well known characters that does not cease to appear and reaper ?

Ardan´s unique vision about the portrait allow so. Her compositions, made out of post-its immediately

Ardan Ozmenöglu

Ardan Özmenoglu is a versatile Turkish contemporary artist who works in a wide range of mediums including large-scale glass sculptures, works on Post-It® notes and neon lighting. Since her first exhibition in 2006, her unique work has been featured in over forty exhibitions in the U.S. and abroad including Istanbul, Berlin and Croatia.

Unique Technique

Özmenoğlu adheres hundreds of post-it notes to her canvases and then silk-screens colorful, pop-inspired imagery on top to create a three-dimensional surface. This singular composition made out of a multitude of similar parts lends the work a formal variety and literal depth. After the canvas undergoes the printing process, each post-it note can behave differently. Some can lay completely flat, while others can curl up and reveal their true colors peaking out from under the overlaid images. The work’s three-dimensional depth also translates into a depth of meaning—on the surface, it is colorful, lighthearted and extremely fun, yet an entirely different character and tone threatens to eclipse these surface appearances from underneath.

Her playful work, ripe with sociopolitical commentary, challenges the viewer to reconsider familiar images, products and ideas. She cleverly uses ubiquitous items, Post-It® notes, to create pieces of art that unite seemingly opposing ideas: the past and the present, art history and contemporary art trends, creativity and consumerism, repetition and individuality, the whole and the fragmented. She unites the centuries old practice of printing with modern colors, glitters, paper and images. Her brightly colored, bold art forces the viewer to consider everyday objects and ideas in a different light. The result is anything but predictable.

Video Courtesy of the Artist

Detail. “New York” (Yellow), 2018, Mix-media and post-its, 120×180.

“Kate Moss”, 2018, Mix-media and post-its, 165×150. Private Collection.

“Frida” (Pink), 2018, Mix-media and post-its, 156×90. Private Collection.

The Private Showroom Gathering

Regina De Con Cossío unpacking the pieces.

“Art Reveal”, Paola Ismene. The photographic works of Paola Ismene depict a strong realism on the one side, and a blurry surrealism on the other side, making out of this mixture a great match.

Art Reveal featuring the Photographic works of Paola Ismene

Inhabit

For this curatorial initiative I am proud to feature the photographic works of Paola Ismene, whose images depict a strong realism on the one side, and a blurry surrealism on the other side, making out of this mixture a great match.

It all begins outside: the mouth, the finger, the skin.
A blurry onirical state transports us from the “real objective” to ones own universe. The one composed by colors and feelings; free- associations. That world were the “I” makes sense. There is a free flow of scenes. We use autorrefernciality to explore.
We are now inside, in ones own consciousness and experience. There are more scenes overlapping. A need to bring order.

Finally, an impulse to get back outside.

Did we ever leave, if we accept with Paul Vaéry, that the deepest finds itself in the skin?

Paola Ismene

Paola Ismene

Born and based in Mexico city. Studied a bachelor’s degree in Communication Sciences from the National Autonomous University of Mexico (UNAM) and photography at Active School of Photography (EAF).

Has obtained some awards, the last ones: Winner in the contest Selfexpression from Saatchi Gallery London (2017) and Winner of the Self-portrait category in Mobile Photography Awards 2017. Awards: • Winner of the Self-portrait category in Mobile Photography Awards 2017 • Winner in the contest Selfexpression from Saatchi Gallery London • Special mention in the “Women photographers of latinamerica” contest, 2017 .

Inhabit, 2015, Cotton Print, Photography, 66×40.

Obsesive Observer

Obsessive observer. I found in photography the language to express my introverted personality, as a way to fragment and externalize my mental universe. I use colors and spaces as emotional analogies gestated from my life experiences. I try to explore the human and its comlplexity starting from self-referential narratives

Winner in the contest Selfexpression from Saatchi Gallery London

Daydream in Blue, Cotton print, Photography, 64×50.

Winner of the Self-portrait category in Mobile Photography Awards 2017

Make piece with yourself , 2017, Cotton Print, Photography, 60×40

Special mention in the “Women photographers of latinamerica” contest, 2017

False Awakening (Edén), 2015, Cotton Print,  Photography, 66×44 cm.

ARTreveal is a part of the Sybaris ARToutreach Program. The Program and Event were designed exclusively for our community of art patrons to connect artists and art enthusiasts throughout the world to promote culture, technique, and creativity.

“Omisiones en la Memoria Colectiva, (Variación 01)”, Fernando Poludura, Clavo 2021

Omisiones en la memoria Colectiva, Variación 01

Fernando Polidura

Fichas reproducidas en un monitor digital a modo de video, que presentan dieciocho personalidades de relevancia histórica y actual, en donde la piedra clave es un dato sencillo, pero irrebatible: La condición física/psicológica con la que cada unx de ellxs coexiste.

-Fernando Polidura.

SC: ¿Con qué propósito hiciste esta pieza?
FP: Esta pieza busca ser una herramienta detonadora de la aceptación de unx msmx como ser humano imperfecto, recordando que es más normal ser distinto a ser ¨normal”.

SC: ¿Qué te motivo a pensar en este tema?
FP: Vivir de primera mano situaciones humillantes las que unx es marginadx por tener una condición que lx deslinda de lo socialmente reconocido como “ordinario”.

SC: ¿Qué quieres despertar en el espectador?
FP: Originada para desvelar nociones fundamentales en presunciones que desmerecen la auténtica naturaleza humana, vigente desde antiguas civilizaciones como la griega y romana, hasta campañas publicitarias de la industria de la moda en la actualidad, el eterno anhelo por la perfección física impide hacer las paces con nosotrx mismxs y nuestro vehículo mortal.

Fernando Polidura

La práctica de Fernando Polidura (México, 1989), está interesada en desmantelar el cuerpo humano desde diversos emplazamientos marginales y vulnerables, ofreciendo así una visión más íntima y cruda que contraviene las convenciones y tradiciones de belleza e ideales del ser humano contemporáneo y que atañen a distintos ámbitos como la economía, la medicina, la fe y, por supuesto, el arte.

Al mismo tiempo, su ejercicio tiene como propósito configurar un “cuerpo”; es decir, un organismo independiente al artista mismo, al contexto donde se gesta y al espacio que habitará una vez concluida la obra, proporcionando de este modo un estado de orden y equilibrio, aunque temporal y precario, vulnerable.

Vive y trabaja en la ciudad de méxico. Realizó estudios de arquitectura (2008-2013) y durante ocho años se desempeñó en el desarrollo de proyectos en diferentes despachos emergentes y consolidados, al tiempo que profundizaba en conceptos como estructura, materialidad y exposición del proceso tanto en el dibujo y escultura.

Ha sido seleccionado para formar parte de la feria de arte independiente (fain, ciudad de méxico, 2020), del abierto mexicano de diseño (amd, ciudad de méxico, 2020), de la exhibición “otra casa” presentada por Casa Equis y Casa Lü, y de la muestra “expo 54” presentada y curada por Frontera 115. Durante finales de 2020 y comienzos 2021 realizó una residencia de producción en la iniciativa independiente un estudio sobre revolución (ussr, ciudad de méxico). Su obra forma parte de las colecciones David Ramírez Chávez y Archivo Colectivo.

 

SC: ¿Cuáles son tus principales influencias en tu práctica artística?
Margo glantz y Francisco González Crussí.

SC: Tu bebida preferida
FP: Cerveza clara

SC: Un lugar especial en el que colocarías una obra de arte ….
FP: Donde sea que se aprecie el motivo por encima de la propiedad retiniana de la pieza.

SC: Para tí el arte es…
FP:La levadura de distintas narrativas.

Video digital. 3 minutos. Cortesía del artista.

“Casa Nakasone”, Escobedo – Soliz, Gustavo Artigas, Gabriela Salazar, Manuela García. Sybaris featured the new architectural piece of the Escobedo-Solíz office; a private house south of Mexico City, in which the concept and matter were the curatorial axes that guided the activation of space.

Casa Nakasone.

Escobedo–Soliz, Gabriela Salazar,
Gustavo Artigas, Manuela García

 

Casa
Nakasone, the new architectural piece of the Escobedo-Solíz
office; a private house south of Mexico City, in which the concept
and matter were the curatorial axes that guided the activation of
space.
The importance of the record

There is a common belief that only things that can be seen, actually happened, as if there is no place for private memory. “To” witness and “a” witness are the key of history. Herodoto and Thucydides began the tradition many years ago. The importance of the trace, and the document have only grown in time: notes, catalogues, archives, photos, all resources that evidence that yes, something took place. I wonder if “History of Art” is something else than this effort to record the artistic experience and the objects produced during it? Is Art History in this regard an artwork itself?  Our artsy consumption takes place most of the times through secondary resources: through books, media, art stores, image reproduction; through the records we have of it, through the voices of the experts and through history itself. The question about the inherent value of an artwork, therefore stands. Is there any kind of property belonging to the artwork itself, one that wont change with the contexts? Is the artwork ́s value  immutable? Can the artwork ́s meaning  change, depending on where it displayed and on how is it displayed? 

In sum: what is the meaning of accessing to a piece, or a series of pieces, or an exhibition only through documents? Through the records created of it. 

Casa Nakasone

The art exhibition Casa Nakasone dialogues with these questions, and it is also a result of it. The project began with a piece by Gabriela Salazar I wanted to exhibit (Hook Crooks, Fair Fools), a very material piece, similar to a rail of pieces. I had the opportunity to discuss with Pavel Escobedo and Andrés Solíz from Escobedo-Soliz architectural firm,  and merge in the project together. They were constructing Casa Nakasone, a residential piece and before delivering the home to the final client, we thought of activating the space with art. We decided to bring the exhibition to the public through the documents. 

The Pieces Exhited

The pieces selected were primarily conceptual and we should be a concept out of it. “Nakasone” as word, as concept. If we remember, ‘Word-art’ became prominent in the second-half of the 20th Century with the development of conceptual art. The viewer confronts an artwork replete with words, which easily convey a message. The message is akin to a poetical composition insofar complex meanings are contrived and reunited in few sentences. Yet the message contains something more than poetry. With John Baldessari, for instance, we see an ironic use of words; with Barbara Krueger we see a political use of words. Being original in this art genre requires mastery, for one has to effectively link or connect meanings with the distribution of words within a surface. This already requires a design skill and choosing a personal typology, but in the artwork we also need something more: the distributed words must adequately connected with pictorial forms. In the case of Artigas’ Vermilion (2017), the used colors not only exemplifies the label which refers it (“vermilion”) but it also relates color and label to meaning. Surprisingly, in this work the artist uses a shade of orange instead of vermilion, so this itself provide a dislocation in the immediate identification between the exemplified color and the label. Call this the ‘rhetoric’ of the work. It is not as if Artigas is only inviting to disclose the meaning of the particular white sentences; we require to do more than just this to appreciate said work. Having these dimension, Vermilon is close to minimalism, and, with respect aesthetic considerations, the presentation follows cinematographic typographies and also cinematographic mode of presentation, as if it were a screen. As for the pictorial form, the arrangement of elements is elegant, at some point simple, yet the overall composition is balanced and appears to float naturally in an indeterminate, orange, close to vermilion, field or space. In Cadmium Vermilion Red (2017), the same rhetoric is put forward –one where the label, sentences and pictorial medium cohere– but we see an advancement of the narrative pertaining the sentences themselves. While in Vermilion the inhalations and ingestions (which are alluded with the used colors) causes damages to parts of the body, in Cadmium Vermilion Red the inhalations and ingestions includes also damage to the “bones”. There is a culmination in the narrative in bone damage. Why the artist stopped there in the narrative is certainly something worthy to be asked. 

Gabriela Salazar’s work explore non-conventional material for advancing her artistry. She plays with the shocking but she is also tempered, gaining a sense of equilibrium. Visually, Knot Level (2012-19) presents a vynil tube filled with blue liquid. The salient blueness creates a pleasing perceptual arrangement when combined with soft and elongated curves. Even more, we reach a sense of “horizon” far distant, when we see four lines dividing the portentous blue from the whiteness. In this respect the piece could be seen as a landscape work. It is also important to see the found hook at the top. This is a recursive element that pervades Salazar’s work. In Hook Crook, Fair Foul (2017-18), the artist emphasises the presence of found hooks for the overall composition. These hooks sustain other materials, like wood, rubber, plasticine and paper pulp. As the viewer can note, some hooks are filled and others are empty, as marking a discontinuity in the linear arrangement. In fact these hooks become a presence, a metaphor with respect possession and dispossession, like a movement between content and emptiness. Visually, the various elements tend to respect each other spaces but they also form a compositional unity. There is a palpable order though not necessarily a pattern in it. This creates a sense of displacement of the composition, as if it were departing, or arriving, to a more diluted space. In Wall Wedge (2012), Salazar disposes wood in such a way that it creates an impression of dynamism with respect the curve and a point created by the wall and the floor, which “pulls” the material into a movile centre. This provides a sense of movement in the overall, as if the piece were something volatile. However, the materiality of the wood also makes the piece heavier, as rooted firmly in the floor. It is as if the piece where a mixture of lightness and a material which is not longer free, being pulled by this movile centre. 

Manuela García’s piece Circuito número 1 (2017) continues the line inaugurated by Malevich, which present ‘squareness’ as such having a symbolic import, almost a mystical, religious aspect. The wall’s whiteness reinforces this point, for there is a purity that makes his way through the piece. At the same time, a square, as a figure, is simple, for it just consists of four equal lines united in their extremes. Importantly, in this piece those extremes are made of something which is bronze or something resembling bronze, so the intersections are called into questions by these materials. The arrangement of this material figure is simple and there is a sense of floatingness due to the lack of content in the work (we see a void). Yet, the introduction of bronze adds some weight to the piece, so it stays in equilibrium within itself.

Air seems to be a recurring element, both to the circuit, and to the arc, where that letting the element through constitutes part of the composition. In the case of the arch, the air plays a role: it is the generator of the movement, which gives life to the piece, allowing a dynamism that makes it infinitely different pieces. The tension between the arch, the ceiling and the floor, turns out to be of equal importance, because it is that tension that gives the very shape of the piece.

Finally, Manuela García’s “Obsidian” is the very representation of the concept and the subject: the title is named obsidian, but it is paper. It is completely contrary to the gravity and heaviness of a stone, being a light piece.

Each of the seven pieces visually results as a spatial extension of the spaces designed by Escobedo and Soliz for Nakasone: brick and orange (Artigas), blue on blue (Knot Level), wood on wood (wall wedge), stone on stone (Obsidian), square in square (circuit N.1) and the necessary tension of the ceiling and wall to form the arch of Garcia.

Finally, I would like to draw attention to a fundamental element of Nakasone for perception: the light that appeared and disappeared, but always returned. Light, the indispensable element to make any object, an object of perception, conversation, or appreciation

Regina De Con Cossío

Escobedo-Soliz

Escobedo Soliz  is a young architecture practice, based in Mexico city. The practice is based on a continuous search in which various forms of experimentation and investigations of design processes are as important as the final product. Each of the projects addresses the particularities of every situation to develop a response that has very strong ties to its context. It is essential to truly experience and live in close proximity (or in) the site as it provides solutions that, although intuitive, begin to make an architecture that belongs to its place.

Lazbent Pavel Escobedo Amaral
(Nayarit, 1988) Graduated in Architecture at the National Autonomous University of Mexico. Disciple of Humberto Ricalde. Has worked with Mauricio Rocha + Gabriela Carrillo Architects in Mexico City and is currently teaching as an assistant professor at UNAM, Mexico City.

Andres Soliz Paz
(Mexico City, 1990) Graduated in Architecture at the National Autonomous University of Mexico. Guest student at Czech Technical University in Prague, Czech Republic. Has worked with NGB Architects, Taller Mauricio Rocha + Gabriela Carrillo, Nicolas Vazquez Architects and Studio MMX and is currently teaching as an assistant professor at UNAM, Mexico City.

They have given lectures in Mexico City, Guadalajara, Guanajuato, Nayarit and New York City.

Gabriela Salazar

In her work, Gabriela Salazar examines the modes and measures of knowledge that are transmitted, visibly and invisibly, via structure and stuff.

She approaches the built environment, her personal history, and material, as frameworks for site‑responsive installations, drawings, and sculpture that engage the relational and associative possibilities inherent in medium, architecture, the body, selfhood, and place.

Throughout her practice runs a fascination with the phenomenology of site; the ways architecture is (mis)repurposed towards contemporary needs and uses; rule-making (and bending) as a strategy for uncovering idealizations and uncertainty in experience and expectations; and the large-and-small consequences of intentionality, ambition, limit, and failure.

Gustavo Artigas

Born in Mexico City in 1970 | Lives in Toronto, Canada

Over the last 25 years, Artigas has experimented with different media and visual art modalities such as Sound Art, Site Specific Installations, performance Art, Relational pieces, educational platforms as works of art, light pieces, and painting.His work dialogues with a wide variety of issues, from the political to the social identities and became part of the booming group of contemporary Mexican artists that emerged in the ’90s and made an important impact in the international art scene. Some of the most recognizable works by Artigas relate
ludic structures to disaster situations, creating interfaces to be played and developed by spectators or specific human groups.

Artigas’ vision took his work to the Venice Biennale, the Havana Biennial, the Liverpool Biennial, and other important international art forums. He has been a member of the Mexican Creators National System (Sistema Nacional de Creadores de Arte, FONCA-CONACULTA) the most important Art Recognition Grant System in Mexico in two periods: 2007-2010 and 2014-2017. His recent solo exhibitions include Cromascopes: Transmission Events. TAB Gallery, Guadalajara, Mexico. 2016. RIO. Museographic Essay. Museo Universitario del Chopo, Mexico City. 2015, Gustavo Artigas The Book: 2000-2012. Museographic Essay. Galería Hilario Galguera. 2013. Mexico City. Gustavo Artigas: Relay (Endless), Boulder Museum of Contemporary Art, Colorado, 2011; Recent accidents, documents and executions, Galería Hilario Galguera, Mexico City, 2007.

Manuela García

She completed her Bachelor of Fine Arts at the National University of Colombia, graduating in 2007. In 2008, she studied at the Academy of Fine Arts of Brera in Milan, in the specialization of visual arts and textile art study at the School of Arts and Crafts of Granada. In 2014, she graduated from the SOMA educational program and completed the master’s degree in sculpture at the School of Arts and Design of the UNAM.

She has recently been part of the Kiosko project, of Fundación Alumnos, directed by Eva Posas. She presented The similarities are hidden in the surfaces , individual exhibition in the Brief gallery. She made part of the first exhibition of Bodega Acme in Mexico and of Sal with Celta , curated by Mauricio Marcin in the Acapulco 62 gallery.

Her work has been part of exhibitions such as Transcriptions curated by Esteban King in the Chopo museum, Onufri Prize in the National Gallery in Tirana, Harun Farocki: Nicht löschbares Feuer, 1969, Temporary Gallery in Cologne, Yellow Tulips , in the Efrain Lopez Gallery in Chicago and in collective projects such as cartography for Local Histories, Global Practices. MDE15 with the Cooperativa Cráter Invertido. Museum of Antioquia. Medellin

Gustavo Artigas, from the Colour Risk Paintings:
Left, Cadmium Vermillion Red, Acrylic on Canvas, 200×122 cm.
Right, Vermillion, Acrylic on Canvas, 176×155 cm.

Detail, Gabriela Salazar, Hook Fool, Fair Foul, Variable Dimensions.

Manuela García, Circuito núm. 1, Iron wire and copper, 200x 200 cm.

“The Jewel of Art” Santiago Pani. Designing unique pieces which showcase the human existence, Santiago Pani’s jewelry sparks intrigue just like his exquisite works of art.

The Jewel of Art

Santiago Pani

Designing unique pieces which showcase the human existence, Santiago Pani’s jewelry sparks intrigue just like his exquisite works of art. These artistic pieces, created exclusively for The Sybaris Collection, provide an opportunity for art lovers to showcase their taste everywhere, enhancing the artistic experience of all who see them. From earrings to cufflinks, Pani’s pieces are an imaginative addition to your collection.

This Event is exclusively for Sybaris Clients and Friends, to experience limited edition pieces of jewelry inspired by Santiago Pani’s artwork and  Mariana Navarro’s creativity.

Figurative Art in Paint, Engraving and Sculpture

Third generation Mexico City artists Santiago Pani never truly had to “discover” art; he simply understood creativity through his father and grandfather, along with the art culture he was exposed to as a child. It was an international trip and the museums he visited throughout this experience, however, which set his heart and mind to creating his own works. With interests varying from the minute world of bugs to the expansive world of space, Santiago Pani explores the connections humans have with the elements of existence.

Education

Santiago completed his degree in Fine Arts at the ENPEG (National School of Painting and Sculpture), popularly known as “La Esmeralda” in Mexico City, a place renown for its artistic history and home to more museums by volume per capita than anywhere else in the world.

Santiago has participated in multiple collective exhibitions in Mexico City, including several at the annual Affordable Art Fair from 2010-2012.

His first individual exhibitions were held at Zacatecas and Mexico City, both sites of spectacular Latin American art in communities teeming with art galleries and artists.

He has displayed works across the globe, from Romania, the United States, Nicaragua, Spain, Belgium, Italy, and in locations throughout Mexico, including artistic residences in Kasterlee, Belgium and Almeria, Spain.

He is creator of Santiago Pani Welcome to My Mind, a project which includes the offering of a limited-edition print and T-shirt, melding art and fashion. His current combination showcases his fascination with octopi and their unique ability to shield themselves from harm with ink.


Source of Inspiration

Has been influenced by the works of Lucian Freud, Dutch sculptor Theo Jensen, and his father. Santiago Pani finds that art creation is a journey; he may begin his work with rules in mind, and perhaps a plan for completion, but during the journey he is led another direction as the piece takes shape.

His more recent interest in portraits supports his view of humans as a midpoint between the tiny, yet not insignificant world of entomology to the all-encompassing expanse of the cosmos. Additionally, he is drawn to the reality that everyone has a memory, a recollection of the people he or she has encountered in a lifetime. This collection of experiences shapes the future and individuality of each person, building the character over time.

Sybaris Collection is proud to feature some of Santiago Pani’s works, including his “Retratos” series of mixed media paintings which imply a connection between humans and the insect world. Sybaris is dedicated to bringing emerging artists to our community of art enthusiasts, celebrating the heritage found throughout the world.

This curatorial initiative drew its inspiration on the concept on analogy. As we know, the mathematics of the concept connect with the idea of “proportion”. How to break in small pieces the big part. The portrait image series painted by Pani are the Universe that we wanted to bring closer to a wider audience through the jewellery. Sybaris Collection commissioned artist Santiago Pani to design a wood container whose background be a painting. The box would be filled by small boxes each one containing a piece of jewellery. Anyone could posses a small piece part of the whole.

Santiago Pani.

Regina De Con Cossío with Blue Portrait by Santiago Pani

Partner´s Venue Barrio Alameda

Other Collaborations with the artist

Online Exhibition in collaboration with Ovalo Galería.
Video: Roegelio Reynoso

Select your currency
USD United States (US) dollar

ABOUT SSL CERTIFICATES