CBG 2019 Catalogue by Celaya Brothers Gallery

BRINGING ART TO NEW AUDIENCES

The prevailing spirit around the world is one of transformation and the art scene is no exception. Numerous Contemporary Art galleries are facing a crisis at different levels. The way art is exposed, sold and consumed is changing, but the gallery model is not keeping up and the distance is increasingly noticeable. In Mexico and around the world, art institutions are experimenting with new formats trying to alleviate the situation but, the reality is that the self-imposed limits have not yet vanished, and the possibilities of action continue to be conditioned. CBG challenges itself because it finds the category of "gallery" somewhat restrictive. That is why we want to take a step outside, a step forward, evolving into a cultural project, focused on bringing art to new audiences in different formats. We want to share with our artists, collectors, and friends that from today on, CBG merges with All City Canvas with the clear goal of joining forces and consolidating a cultural agenda committed to the power of art and its influence on society.

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ARTIST INDEX

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2501 (IT, 1981) Agostino Iacurci (IT, 1986) Augustine Kofie (USA, 1973) Camila Rodrigo (PE, 1983) Griselda Benavides (MX, 1990) Isabella Huffington (USA, 1991) Josh Reames (EE. UU., 1985) Juan Carlos Coppel (MX, 1986) Laura Meza Orozco (MX, 1988) Maismenos (PT, 1981) Martina Merlini (IT, 1986) Mathew Zefeldt (EE. UU., 1987) Nuria Mora (ES, 1974) Sten Lex (IT, 1982)

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2501 MILAN, ITALY, 1981 He began painting graffiti at 14 years old. Later, he studied Bachelor in Film Editing and a Master on Visual Communication. At the age of 20, he moved to São Paulo, Brazil, where he joined a project teaching children of the favelas to paint. There he got in contact with the South American graffiti school, represented by Os Gemeos, Herbert Baglione, Higraff and Zezao, among many others. That experience changed his approach to painting. In 2005 he decided to focus exclusively on his career as an artist. First known as “Robot Inc” and later as “2501”, he has developed a new style which combines urban art, canvas, sculpture, installation, photography, video, and documentary. He uses wavy, black and white lines to create forms that go from figurative to abstract. His works, full of movement and energy, capture our imagination and give us the possibility of an introspective break from the visual monotony of urban life. The interdisciplinary character of his research truly mirrors his approach to life and knowledge. He currently lives and works between Europe, USA, and South America.

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PIANO CARTESIANO Acrylic and ink on canvas 200 x 150 cm

$12,000 USD

MAPS / MAPAS 3 Aluminum treated with acid 150 x 124 x 21 cm

$12,000 USD

MAPS / MAPAS 1 Aluminum treated with acid 92 x 62 cm

$3,900 USD

SEVEN LAYERS Monotype print on cotton paper 88 x 128 cm

$3,700 USD

WORKSHOP 2 Monotype print on cotton paper 128 x 88 cm

$3,700 USD

WORKSHOP 4 Monotype print on cotton paper 128 x 88 cm

$3,700 USD

WORKSHOP 5 Monotype print on cotton paper 88 x 128 cm

$3,700 USD

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2501

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AGOSTINO IACURCI FOGGIA, ITALY, 1986 Through his work with synthetic forms and bright colors, by means of an essential language, Agostino Iacurci is able to manage multiple layers of interpretation. This approach sets his tales on the perennial threshold between innocence and artifice, serenity and catastrophe; on a magnetic tension that is the interpretative key to our very existence. His recurrent themes include self-perception, uncertainty, imagination, and play. Conceptually, his work leans towards mechanisms of irony, a play of contrasts that occur with opposites. His work has a cynical and critical vision of reality —pessimistic at times— setting the stage for drama and at the same time sublimating it, alleviating it. Iacurci’s work challenges the limits of sinuosity by presenting an image that seems familiar and innocent but is, fundamentally, malicious. And in that uncertainty lays its richness, a half-open door that leads to other interpretations. Agostino Iacurci’s work has been exhibited at the MACRO Museum in Rome, Italy; the Italian Cultural Institute of New York, USA; the Media Library of Orly in France and the Biennial of Urban Art in Moscow, Russia. He currently lives and works in Berlin.

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BALAUSTRADAS NO.1 Acrylic on canvas 200 x 110 cm

$7,800 USD

ENTRADA NO.1 Acrylic on canvas 200 x 110 cm

$7,800 USD

ENTRADA NO.2 Acrylic on canvas 200 x 110 cm

$7,800 USD

ENTRADA NO.3 Acrylic on canvas 200 x 110 cm

$7,800 USD

ENTRADA PEQUEÃ&#x2018;A NO.1 Acrylic on canvas 120 x 80 cm

$5,200 USD

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AGOSTINO IACURCI

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AGOSTINO IACURCI $1,300 USD

PLANTAS 5-10 Mixed media Variable dimensions

$1,900 USD

PLANTAS 11-12 Mixed media Variable dimensions

$2,500 USD

PLANTAS 1-4 Mixed media Variable dimensions

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AUGUSTINE KOFIE LOS ANGELES, USA, 1973 Inspired by the basic building blocks of the geometric world, Augustine Kofie has formed a retro-futuristic aesthetic which transplants these shapes and angles into a soulful, organic, yet highly mathematical form of abstraction. Merging his traditional graffiti education, his inclination toward “certain colour forms and certain application techniques”, with his deep love of illustration and preliminary design, his fondness for “drafts, architectural renderings and pre-production concepts”, Kofie plays with form and line, with balance and depth, twisting and manipulating his murals, his illustrations, his compositions, into ever new and dramatic arrangements. Developing his aesthetic into an almost pure abstraction then, dominated by the simple squares, triangles and circles that make up our structural universe, Kofie’s relentless desire to experiment and explore his visual surroundings meant he was forced to engage in a constant test of his own mindset and preconceived ideas, each work an attempt to find a geometrical solution to a graphical problem. His work has been exhibited in museums and galleries such as CBG in Mexico City, Magda Danysz Gallery in London, Jonathan LeVine Gallery in New York, in the A+D Museum and The Chinese American Museum in Los Angeles, and the Pasadena Museum of California Art in Pasadena, among others. celayabrothersgallery.com

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CIRCULACIÓN TEMPLO Acrylic and spray paint on canvas 170 x 168 cm

$11,000 USD

SISTEMA SILENCIOSO Acrylic and spray paint on canvas 126 x 170 cm

$8,200 USD

SISTEMA ABRASIVO Acrylic and spray paint on canvas 110 x 168 cm

$7,000 USD

EXPANSIÓN Acrylic and spray paint on canvas 105 x 160 cm

$6,500 USD

ADELANTE NO.2 Acrylic and spray paint on paper 77 x 59 cm

$1,800 USD

ADELANTE NO.3 Acrylic and spray paint on paper 77 x 59 cm

$1,800 USD

ADELANTE NO.4 Acrylic and spray paint on paper 77 x 59 cm

$1,800 USD

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AUGUSTINE KOFIE

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AUGUSTINE KOFIE

$1,800 USD

MĂ QUINA PEDIDO Mixed media on wood 31 x 31 cm

$800 USD

TIENE ESO Mixed media on wood 31 x 31 cm

$800 USD

ADELANTE NO.5 Acrylic and spray paint on paper 77 x 59 cm

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CAMILA RODRIGO LIMA, PERU, 1983 Rodrigo studied Photography at the Centro de la Imagen in Lima, Peru. In 2009, she did a Master in Photography and Visual Arts at Naba University in Milan, Italy. In 2010, she was selected as part of Regeneration: 70 best young photographers around the world, created by the Musée de l’Elysée in Lausanne, and later was a finalist in the Lacoste Elysée Prize. In 2014, she did the Master’s Mal de Foco: Latin American Photography at Centro de la Imagen in Peru. Camila Rodrigo works with photography, sculpture, and installation to reflect on the effects of erosion and wear, focusing on the idea of progress as a (de)construction, a contrast between past and future. Her images examine the passage of time, the transformation of the natural space parallel to the reorganization of society. Her projects have been exhibited at the National Museum of Lima, in Peru; the Museum Rosphoto in St. Petersburg, Russia; the Musée de L’Elysée in Lausanne, Switzerland, and the Palais de l’Árchevéché in Arles, France. She has also exhibited her work in galleries in Lima, Mexico City, London, New York, Amsterdam, Barcelona, and Milan, among others.

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OTRO ORDEN V Ed. 1/3 Inkjet on cotton paper 130 x 200 cm

$5,800 USD

COSTA VERDE XII Ed. 1/3 Inkjet on cotton paper mounted on aluminium 150 x 100 cm

$4,000 USD

COSTA VERDE XIV Ed. 1/3 Inkjet on cotton paper mounted on aluminium 150 x 100 cm

$4,000 USD

ESTRATO III Ed. 1/3 Inkjet on glossy paper mounted on aluminium 165 x 122 cm

$4,700 USD

PIEDRA PATA Ed. 1/3 Inkjet on glossy paper mounted on aluminium 100 x 150 cm

$3,500 USD

ESTRATO I Ed. 1/3 Inkjet on glossy paper mounted on aluminium 60 x 90 cm

$1,700 USD

ESTRATO V Ed. 1/3 Inkjet on glossy paper mounted on aluminium 70 x 46 cm

$1,000 USD

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CAMILA RODRIGO

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MAPA I Ed. 1/3 Inkjet on cotton paper 52 x 38 cm

$900 USD

MAPA II Ed. 1/3 Inkjet on cotton paper 52 x 38 cm

$900 USD

MAPA IV Ed. 1/3 Inkjet on cotton paper 52 x 38 cm

$900 USD

MAPA V Ed. 1/3 Inkjet on cotton paper 52 x 38 cm

$900 USD

ESTRATO II Ed. 1/3 Inkjet on glossy paper mounted on aluminium 60 x 40 cm

$800 USD

ESTRATO IV Ed. 1/3 Inkjet on glossy paper mounted on aluminium 50 x 33 cm

$600 USD

ESTRATO VI Ed. 1/3 Inkjet on glossy paper mounted on aluminium 26 x 40 cm

$350 USD

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CAMILA RODRIGO

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GRISELDA BENAVIDES HERMOSILLO, MEXICO, 1990 Works by Griselda Benavides are the result of her attachment to the daily objects that surround her. Through appropriation, she confers a specific personality to each one, attempting to make them inhabit a different universe with different rules. Benavides has a Bachelor Degree in Fine Arts from the University of Sonora, with a specialty in Painting and is currently saying the Master Degree in Artistic Production. Her work has been exhibited in cities such as Sonora, Mexico City, Tijuana, Culiacan and Monterrey, including institutions as Salon Acme and the Sonora Art Museum. She was selected in the Visual Arts Workshop during the Interfaz Festival in Culiacan, Sonora; in the IV Iberoamerican Exhibition of Miniature Art; the VII Miradas Biennial and the State Contest of Creative Photography in Sonora, Mexico. She was awarded an Honorable Mention by the VIII Miradas Biennial and was granted a scholarship by the Sonora State Fund for Culture and Arts.

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PLÁTICA CON PAPEL I Drawing on velvet paper and residues 42 x 37 cm

$900 USD

PLÁTICA CON PAPEL II Drawing on velvet paper and residues 24.5 x 38.5 cm

$900 USD

PLÁTICA CON PAPEL III Drawing on velvet paper and residues 32 x 38.5 cm

$900 USD

PLÁTICA CON PAPEL V Drawing on velvet paper and residues 37.5 x 36.5 cm

$900 USD

PLÁTICA CON PAPEL VI Drawing on velvet paper and residues 50.5 x 29 cm

$900 USD

NOS VE LO QUE NO VEMOS Drawing on velvet paper 20.5 x 39.5 cm

$900 USD

HILOS DENTALES I Acrylic on paper 28 x 19 cm

$800 USD

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GRISELDA BENAVIDES

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HILOS DENTALES II Acrylic on paper 19 x 28 cm

$800 USD

HILOS DENTALES III Acrylic on paper 29.5 x 23 cm

$800 USD

HILOS DENTALES IV Acrylic on paper 31 x 28 cm

$900 USD

MIRADOS I 7 laser engraved "Mirado" pencils 21 x 21.5 x 6.5 cm

$700 USD

MIRADOS IV 7 laser engraved "Mirado" pencils 21 x 21.5 x 6.5 cm

$700 USD

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GRISELDA BENAVIDES

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ISABELLA HUFFINGTON NEW YORK, USA, 1991 Isabella Huffington became interested in the accessibility of the arts while studying Art History. The development of her artistic production revolves around the public, being her objective to create empathy and bonds between the viewer and the artwork by introducing everyday objects in recognizable compositions. Through collages and mixed media, Huffington addresses cultural and political issues such as gender parity, the impact of social media, and the electoral processes, among others. Her work has been exhibited in galleries around the United States and in Mexico.

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ISABELLA HUFFINGTON

$4,000 USD

UNTITLED 68 Collage on museum board 75 x 100 cm

$4,000 USD

WHISPERS Collage on museum board 80 x 100 cm

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JOSH REAMES DALLAS, USA, 1985 Josh Reames’ paintings use contemporary tools available on the Internet to create surreal patchworks of contemporary signs and symbols that portray the flattening of artistic hierarchies in our postmodern world. Reames employs computer drawing applications and Google images to create assemblages of “modern hieroglyphs.” His work considers abstraction and painting in relation to the Internet and is informed by the strange, new space where a majority of viewership takes place: online through blogs and websites. In his paintings, depth, dimension, and the artist’s hand are typically lost in translation from object to image, allowing the information to exist as it would appear on a digital screen. His conceptual framework functions as a kind of ﬁltration device for cultural byproducts and its attending relativism, ﬂattening signs, text and symbols, cultural objects and icons to the same-level composition, thereby removing their hierarchy. Reames’ work has been exhibited at The Hole, New York, USA; Johannes Vogt, New York, USA; Luis de Jesus, Los Angeles, USA; Andrew Rafacz Gallery, Chicago, USA; Josh Lilley Gallery, London, UK; Brand New Gallery, Milan, Italy; Annarumma Gallery, Naples, Italy; Dittrich & Schlechtriem, Berlin, Germany, and Koenig Galerie, Berlin, Germany. He lives and works in Brooklyn. celayabrothersgallery.com

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OBEYING Acrylic on canvas 193 x 167.5 cm

$12,700 USD

WRONG WAY Acrylic on canvas 200 x 167.5 cm

$12,700 USD

SWELTER WEIGHT Acrylic on canvas 152.5 x 126.5 cm

$9,500 USD

CYCLES Acrylic on canvas 152.5 x 126.5 cm

$9,500 USD

NO MORE DEALS Acrylic on canvas 152.5 x 122 cm

$9,500 USD

YES! WHAT? Acrylic on canvas 152.5 x 126.5 cm

$9,500 USD

WHOâ&#x20AC;&#x2122;S DOG IS THIS Acrylic on canvas 152.5 x 126.5 cm

$9,500 USD

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JOSH REAMES

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THAT GAZE Acrylic on canvas 152.5 x 122 cm

$9,500 USD

POLICE POETRY Acrylic on canvas 152.5 x 126.5 cm

$9,500 USD

VENT AS YOU GO Acrylic on canvas 152.5 x 126.5 cm

$9,500 USD

HEALTH NUT Acrylic on canvas 122 x 106.5 cm

$7,200 USD

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JOSH REAMES

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JUAN CARLOS COPPEL HERMOSILLO, MEXICO, 1986 Juan Carlos Coppel’s images and sculptures could be linked to the tradition of geographical landscape photography, or the cabinets of naturalist explorers of the seventeenth century, they are actually records of observations and daily work on the transformation of the land. His gaze is not only aimed to discover the sublime in the monumentality of the landscape but to warn a critical stance on industrial agronomists processes, which at the same time reveal textures, reticles, and tissues that alter our perception of the natural environment. His work has been exhibited in Celaya Brothers Gallery (MX), the National Center for the Arts CENART (MX), Sonora Museum of Art MUSAS (MX), the Santa Barbara Museum of Art (USA), among others. He was awarded the Fotoseptiembre Acquisition Prize, the Acquisition Price of the XV Northwest Biennial of Visual Arts. He has participated in art fairs such as Fotoespaña, Guatephoto, Salón Acme and the Biennial of Photography, in Mexico City; and the MIRADAS Tijuana Biennial of Visual Arts, Mexico. He was a member of the 2016-2017 Young Creators Program of the National Fund for Culture and Arts FONCA and the Contemporary Photography Program in Northern Mexico. celayabrothersgallery.com

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ZURCOS Ed. 1/3 Inkjet on cotton paper 150 x 225 cm

$5,800 USD

DESPUร S DE TODO, EL CIELO Ed. 1/3 Inkjet on cotton paper 150 x 225 cm

$5,800 USD

QUEMA 1 Ed. 2/3 Inkjet on cotton paper 110 x 165 cm

$4,900 USD

QUEMA 2 Ed. 1/3 Inkjet on cotton paper 100 x 150 cm

$3,500 USD

QUEMA 4 Ed. 1/3 Inkjet on cotton paper 100 x 150 cm

$3,500 USD

JUAN CARLOS COPPEL

*Para mรกs obra disponible, solicitar el catรกlogo del artista

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LAURA MEZA MEXICO CITY, MEXICO, 1988 Her work is inspired on the Latin American context and the research she has done on the concept of jocosidad (jocularity). She seeks to question the neoliberal notion of work and promote coexistence and a sense of humor in times of crisis. She appropriates urban elements such as stalls and the so-called “defensive architecture” to give them uses designated for rest, play and laughter instead. Her main premise is to draw attention to parties, games, and leisure to bring life, color, and joy to the white cube. Meza Orozco studied at the ENPEG: La Esmeralda and was part of the 2014-2016 SOMA Academic Program. Her work has been exhibited in the galleries Casa Maauad and Bikini Wax in Mexico City; museums like the Museo Universitario del Chopo in Mexico City and the Museum of Art of Sinaloa in Culiacan (Mexico), and the contemporary art fair Salón Acme. She has participated in residencies and exhibitions in Cali (Colombia), Quito (Ecuador), Tegucigalpa (Honduras) and San Francisco (USA). She was awarded the 2015-2016 Adidas Border Scholarship and was part of the Young Creators Program FONCA 2016-2017.

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SIN TÍTULO (EL MURCIÉLAGO) DE LA SERIE CÓMASE LA FRUTA Acrylic on canvas 100 x 80 cm

$3,500 USD

SIN TÍTULO (GUAYABAS) DE LA SERIE CÓMASE LA FRUTA Acrylic on canvas 50 x 40 cm

$1,000 USD

SIN TÍTULO (PIÑA-CUCHILLO) DE LA SERIE CÓMASE LA FRUTA Acrylic on canvas 50 x 40 cm

$1,000 USD

SIN TÍTULO (GUANÁBANAS) DE LA SERIE CÓMASE LA FRUTA Acrylic on canvas 50 x 40 cm

$1,000 USD

SIN TÍTULO (AGUACATE) DE LA SERIE CÓMASE LA FRUTA Acrylic on canvas 50 x 40 cm

$1,000 USD

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LAURA MEZA

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MAISMENOS PORTO, PORTUGAL, 1981 ±MaisMenos± is an intervention art project by Portuguese artist Miguel Januário that offers a critical reflection on the model of political, social and economic organization that manages contemporary urban societies. Its programmatic expression is conceptually reduced to an equation of simplicity and opposites: more/less, positive/negative, black/white. Viral, direct and incisive, ±MAISMENOS± aims to raise awareness and bring some long-awaited changes to the world in which we live. He first spread out the symbol ± through the cities of Porto and Lisbon; then he proceeded to tag various locations with simple statements and texts. These interventions were intended to deliver powerful messages that engage the audience to contemplate on issues of the social implications and consequences, both positive and negative. His work exhibited internationally including the Museum of Design and Fashion in Lisbon, the Contemporary Art Museum in Elvas, the Contemporary Art Museum in Rome, the Côa Museum, and Underdogs Gallery, among others. He has participated in several art festivals in Portugal, Brazil, Angola, Norway, and France. ±MaisMenos± has been the theme of two TED Talks in Luanda (2014) and Porto (2015).

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LUCHA NEO-LIBRE #2 DOLLAR DOLORES Handcut dollar bills 35 x 20 x 20 cm

$2,900 USD

MORAL Handcut dollar and pesos bills 52 x 54 cm

$1,300 USD

MEXICO Flag (White and Black) 100 x 70 cm

$1,300 USD ea.

CAPITALIZADO Handcut 500 pesos bill 6.6 x 15 cm

$650 USD

ACOSADA Handcut 200 pesos bill 6.6 x 14 cm

$650 USD

MARGINADO Handcut 100 pesos bill 6.6 x 13.5 cm

$650 USD

CORROMPIDO Handcut 50 pesos bill 6.6 x 13 cm

$650 USD

DESAPARECIDO Handcut 20 pesos bill 6.6 x 12 cm

$650 USD

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MAISMENOS

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MAISMENOS

$400 USD

MAISMENOS Ed. 1 Flag (six different colors) 100 x 70 cm

$350 USD

LOS CARTELES 1-30 Spray painted poster 50 x 70 cm

$300 USD ea.

UN DOLOR Ed. 2/10 Collaboration with Santo CÃ©sar. Handcut dollar bill 6.6 x 15.5 cm

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MARTINA MERLINI BOLOGNA, ITALY, 1986 Martina Merlini is an artist with figurative roots as an illustrator. She currently resides and works in Milan where she also obtained her degree at the European Institute of Design. Her work is known for being in constant evolution. Starting with illustrations, she explored new techniques and materials that are all reflective of her search for a formal balance and geometrical harmony. During last years she developed and perfected her own technique using wax and enamel, trying to define a rawness that reminds the typical casualty of nature, and yet the invisible rules that flow through it. Merliniâ&#x20AC;&#x2122;s work has been exhibited across Europe and the US.

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MATHEW ZEFELDT ANTIOCH, USA, 1985 His work uses representational imagery as an element within a larger composition. Itâ&#x20AC;&#x2122;s less about what the repeated image represents necessarily, but rather the interplay and relationships of the parts to the whole, and each otherâ&#x20AC;&#x201D; reflecting the pluralist landscape we find ourselves in today. Zefeldt uses images from our life and culture, to reproduce them in an almost lifeless, systematic way. His interest in the aesthetics of digital collage is addressing the multiple visual languages and bringing them together in one plane, creating an overlay of styles and gestures that echo the fragmented, heterogeneous nature of contemporary reality. Mathew Zefeldt is an Assistant Professor of Painting and Drawing at the University of Minnesota. He was one of two national recipients of the Dedalus MFA Fellowship in 2011, and was included in New American Paintings Magazine. Zefeldt has had solo shows at The Soap Factory, Minneapolis, USA; Circuit 12, Dallas, USA; The Institute of Art in Minneapolis, USA; the Santa Monica Museum of Art, USA; Good Weather, Little Rock, USA; Hap Gallery, Portland, USA; Michael Rosenthal Gallery, San Francisco, USA, and Swarm Gallery, Oakland, USA. Zefeldt has been part of group exhibitions at Lisa Cooley, New York, USA; Eleanor Harwood, San Francisco, USA; MOHS, Copenhagen, Denmark and Circuit 12, Dallas, USA.

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STILL LIFE TILED I Acrylic on canvas 122 x 91.5 cm

$7,700 USD

STILL LIFE TILED II Acrylic on canvas 122 x 91.5 cm

$7,700 USD

ROCK WALL I Acrylic on canvas 122 x 91.5 cm

$7,700 USD

ROCK WALL II Acrylic on canvas 122 x 91.5 cm

$7,700 USD

TANK AND MOUNTAIN Acrylic on canvas 122 x 91.5 cm

$7,700 USD

POLICE CAR AND BODY Acrylic on canvas 122 x 91.5 cm

$7,700 USD

TREE AND FERN Acrylic on canvas 122 x 91.5 cm

$7,700 USD

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MATHEW ZEFELDT

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CAR AND STREET Acrylic on canvas 122 x 91.5 cm

$7,700 USD

BIRD IN MARSH Acrylic on canvas 122 x 91.5 cm

$7,700 USD

JET AND RIVER Acrylic on canvas 122 x 91.5 cm

$7,700 USD

TRUCK AND TUNNEL Acrylic on canvas 122 x 91.5 cm

$7,700 USD

PLAYER WITH GEAR AND CAR Acrylic on canvas 122 x 91.5 cm

$7,700 USD

NIGHT CRASH Acrylic on canvas 60 x 46 cm

$3,300 USD

COMET AND STREET 13-16 Acrylic on canvas 48 x 43 cm ea.

$1320 USD x4 $330 USD ea.

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MATHEW ZEFELDT

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NURIA MORA MADRID, SPAIN, 1974 The public space for Nuria Mora is the support, medium, and concept for her artwork. Through the aesthetic intervention, she reactivates the function and soul of the site. The inspiration for her exterior and interior pieces is the city and the community who inhabits. She creates by working with several materials and techniques, from paper, wood, and glass; to the multimedia, possibilities to express her constant purpose: to claim the human element, the mistake. In each of her projects, she aims to represent her own experiences and impressions of places she has being, where she has worked and interact. Nuria is a committed artist who involucrated with the community and space she works on, although her art goes further from the social commitment because she develops ideas marge from the introspective observation and meditation of the aesthetic concepts. She is an artist who explores the figurative limits of representation and the possibilities of interaction between the art and public. Her artwork has been exhibited in many international galleries and museums, among them are the Tate Modern Art of London, the Mirรณ Foundation in Barcelona, the Pilar and Joan Mirรณ Foundation in Mallorca and the Contemporary Art Museum of Johannesburg. Nuria also has worked as an integrant of the collective Equipo Plรกstico. celayabrothersgallery.com

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A PLOMO Glass and brass 130 x 40 x 40 cm

$4,500 USD

TIANGUIS 5 Acrylic on paper 87.5 x 87.5 cm

$2,500 USD

BOYAS 1 Mixed media 49 x 25 cm

$2,400 USD

CAÑOS, PLOMERÍA, SE PINTAN CASAS, ARTISTA PLÁSTICA Acrylic on wood and photograph 40 x 60 cm

$1,500 USD

BOYAS 4 Mixed media 36 x 11 cm

$1,500 USD

BOYAS 6 Mixed media 39 x 19 cm

$1,500 USD

BOYAS 5 Mixed media 20 x 10 cm

$1,200 USD

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NURIA MORA

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NURIA MORA $1,000 USD

TIANGUIS 6 Acrylic on paper 58.5 x 58.5 cm

$1,000 USD

TIANGUIS 4 Acrylic on paper 58.5 x 58.5 cm

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STEN LEX ROME & TARANTO, ITALY, 1982 Sten Lex are among the most internationally renowned street artists in the world. The Italian duo has developed a unique technique, the halftone stencil, which allows them to create poetic and powerful pieces influenced by op-art. Experimenting with the style and technique, Sten Lex developed a collection of silhouettes created from freehand cutouts drawn on paper and contained in glass, working with the idea of a “shadow-stencil”, the projection of an organic image, altered by the changing light. Their works on wood incorporate the evidence of the technique, the strips of paper that were previously discarded, now hang as part of the final work giving it an indisputable aesthetic element. The duo has revolutionized the technique by changing the status of the stencil from static to dynamic. Sten Lex has exhibited in the Museum of Contemporary Art in Oaxaca, the Museum of Contemporary Art in Rome, the Caradente Museum in Spoleto, the Centre de la Gravure et de l’Impage imprimée, the Street Art Museum in Saint Petersburg and La Condition Publique in Roubaix.

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NOTTURNO Stencil Poster (acrylic and paper on wood) 98 x 157 cm

$10,200 USD

VETRO 1 Paper on glass 96 x 98 cm

$8,800 USD

UNTITLED 1 Stencil Poster (acrylic and paper on wood) 120 x 90 cm

$8,400 USD

ONDA SU SABBIA Stencil Poster (acrylic and paper on wood) 71 x 178 cm

$8,100 USD

GOCCIA Paper on glass 96 x 137 cm

$7,000 USD

UNTITLED 3 Stencil Poster (acrylic and paper on wood) 80 x 80 cm

$6,400 USD

UNTITLED 4 Stencil Poster (acrylic and paper on wood) 80 x 90 cm

$6,000 USD

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STEN LEX

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UNTITLED 7 Stencil Poster (acrylic and paper on wood) 30.5 x 50 cm

$3,200 USD

UNTITLED 5 Stencil Poster (acrylic and paper on wood) 30.5 x 40 cm

$2,800 USD

UNTITLED 6 Stencil Poster (acrylic and paper on wood) 30.5 x 40 cm

$2,800 USD

SIEPE Stencil Poster (acrylic and paper on wood) 30 x 40 cm

$2,400 USD

NAVE Stencil Poster (acrylic and paper on wood) 20 x 40 cm

$2,400 USD

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STEN LEX

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COMMISSIONED MURALS

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2501 (IT, 1981) Agostino Iacurci (IT, 1986) Martina Merlini (IT, 1986) Nuria Mora (ES, 1974) Sten Lex (IT, 1982) Vhils (PT, 1987)

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2501

AGOSTINO IACURCI

MARTINA MERLINI

NURIA MORA

STEN LEX

VHILS

VHILS LISBON, PORTUGAL, 1987 His groundbreaking carving technique has been described as brutal and complex, yet imbued with a simplicity that speaks to the core of human emotions, expressing the struggle between the aspirations of the individual and the demanding, saturated environment of the urban spaces he lives in, highlighting and exposing the sombre dimension that lies behind the current model of development and the material aspirations it encompasses – unsustainable, yet inebriating. An avid experimentalist, he has been developing his notion of the aesthetics of vandalism in a plurality of media – from stencil painting to wall carving, from pyrotechnic explosions to 3D modelling – which have enabled him to expand the boundaries of visual expression. His unique approach and artwork have been garnering critical acclaim around the world.

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BRINGING ART TO NEW AUDIENCES

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