Horacio Quiroz

In the pictorial series Goddesses of Spoiled Lands, a series of paintings is presented that merges Quiroz's interest in mythology with his characteristic painting technique, citing the dilapidated and idiosyncratic qualities of the street stalls of Mexico City as a source of inspiration. Quiroz draws on the rich metaphorical layers of stones – as bags full of cosmic history, signs of countless entropic events, tangible evidence of the interconnectedness of all matter – to communicate the possibilities of an expanded perspective. "For me, rocks are simultaneously a representation of reality, the cosmic, the geological, and the human," shares Quiroz. "They are monolithic compounds that build ephemeral goddesses made of legends, stories, and beliefs that have formed layer after layer of human thought since their appearance on Earth." Goddesses of Spoiled Lands presents these fabulous deities encased in striated and solid marbles, framing

5 works in the series

In Monolithic Rubble, Horacio Quiroz reconfigures the body as an active ruin, an emotional architecture made of fragments, fissures, and urban debris. These figures, formed by broken blocks, mineral textures, and tense fabrics, emerge as hybrid entities that defy the logic of collapse: they do not represent destruction, but a new form of presence. With meticulous oil painting technique, the artist imbues the inert with sensuality and the discarded with symbolic power, articulating a queer poetics of reconstruction where excess, entropy, and wound are legitimate forms of beauty and resistance. This series proposes a renewed perspective on integrity, not from unity but from accumulation and persistence of the fragment.

8 works in the series

With Polarities, Quiroz solidifies his aesthetic as a complex symbolic system in which bodies function as mutating territories. The figures, often hybrids between the human and animal, the masculine and feminine, destabilize any binary reading. His mastery of oil painting allows him to render taut skins, sensual folds, and gestures charged with eroticism and spirituality, in compositions that overflow with theatricality and introspection. Here, technique and concept intertwine to create a painting that is both an object of contemplation and a tool for questioning. The series is a visual manifesto on the fluidity, not only of gender, but also of identity, affect, and spirituality, consolidating his practice in a territory that is his own, provocative, and profoundly emotional.

3 works in the series