Horacio Quiroz’s work exists at a fertile intersection of symbolic anatomy, contemporary mythology, and a critique of normative systems of bodily representation. His painterly approach, marked by technical precision and high conceptual density, creates a unique language in which the human form is presented as an entity in constant transformation: emotional and historical matter that resists simplification.

This exhibition brings together pieces from two key series in his recent practice: Goddesses of Spoiled Lands and En Escombros Monolíticos. Both explore how the body can be read—and represented—as a surface of affective inscription, a dynamic archive of experience, desire, memory, and trauma. Far from idealization, Quiroz’s bodies are fragmented yet active territories, unstable topographies that condense the effects of time, culture, and identity on living matter.

In Goddesses of Spoiled Lands, the artist closely observes the urban environment of Mexico City—particularly its cracked sidewalks—to construct figures that emerge as ephemeral deities formed from layers of stone, history, and myth. These hybrid entities, articulated through a queer vision of symbolic power, evoke the simultaneous presence of the residual and the cosmic, the eroded and the transcendent. Rocks appear not only as geological material, but as narrative remnants: traces of entropic processes, repositories of accumulated energy, and devices for connecting the earthly with the spiritual.

En Escombros Monolíticos offers a rereading of the body through ruin and reconstruction. Here, Quiroz reimagines anatomy as an affective architecture composed of fragments, fissures, and tensions. Rather than depicting collapse, these figures express the power of the incomplete, the excessive, and the wounded as legitimate forms of existence. The pictorial matter—stretched flesh, broken blocks, mineral textures—takes on a sculptural dimension that challenges the binary logic of beauty versus grotesque. The inert becomes sensual; the abject becomes symbolic.

Both series share an aesthetic operation that displaces traditional notions of unity, proportion, or canon, offering instead an ethics of the fragmentary and a poetics of transformation. Taken together, Horacio Quiroz’s body of work presents a radical vision of identity as an open construct, and of the body as a living interface between the personal and the collective, the sacred and the material.