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My work is a reflection on the human condition, linked intimately to my psychological and therapeutic evolution. I view the body as a mechanism that not only functions physiologically, but as an emotional vessel that contains our entire temporal and spiritual history. In this way, the body perceives matter and space, through which it learns to experience its own humanity.

 

Everything around us has a dual manifestation. We have day and night, good and evil, feminine and masculine, love and fear, etc. This is so obvious that it is taken for granted. Consequently everything, absolutely everything that exists, has to be composed of the duality of these opposites, the human is not the exception to be constituted by the flesh and the soul.

 

In my work these apparently discordant forces are expressed in the flesh as a single dynamic unity, using the human body as a tool to represent the constant movement of our reality.

 

This permits the incarnation of mutant emotions through the creation of impossible anatomies, similar after a fashion to x-rays of the experiences that we undergo as people while evolving. 

 

In the same way, my painting explores the boundaries of the tensions between the aesthetic and the non-aesthetic on the same support. It probes the resulting dichotomous movement between the beautiful and the grotesque.

EL PESO DE LO INMATERIAL

The Weight of the Immaterial 

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In the fractured terrain of contemporaneity, where the boundaries between the organic and the digital dissolve, we finally understand that identity is not inheritance but invention¹, not destiny but becoming, a space of struggle and reinvention, where every transformation is an act of resistance and hybridity constitutes the most authentic form of contemporary being. 

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In `El peso de lo inmaterial´, Horacio Quiroz constructs a myth for our time, a posthumanist project where spirituality, artificial intelligence, painting, and the self converge in that liminal territory where the impossible takes on tangible form. 

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The exhibition rests on the paradox that the invisible exerts force upon the visible, transforming absence into a presence that reshapes our understanding of existence. Behind appearances lies the transcendent², and it is in that realm where the concept of ontological weight³ unfolds its full power: being acquires material density precisely through what remains hidden. 

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From that invisible density of being, the works take form as cyborg subjects, mestizo configurations that understand hybridity as the essence of the contemporary subject. These creatures do not dwell on the margins; they occupy the center of a new narrative about what it means to have a body, consciousness, and desire in the 21st century. They dissolve the boundaries between the human condition and the machine, moving through a landscape where traditional taxonomies prove insufficient. 

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But these forms are not merely aesthetic or technological combinations; they reflect a process of inner transformation, a gesture of opening toward the void from which something new may be born. Horacio Quiroz understands that every time an algorithm generates an image, or artificial intelligence composes a text, it activates the psychic echo of the one who once imagined that path. There is no artwork without subjective presence, creation becomes an almost ritual act, channeling the archetypes that inhabit the collective unconscious of our time. 

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In `El peso de lo inmaterial´, the boundaries between body, mind, and identity dissolve. The posthuman artist creates protean bodies, fusing flesh with stone, clay, and liquid metal, defying binary dualities and flowing with the intersexual freedom of one who never asked for permission to exist. Painting becomes a privileged space where the invisible takes form, where the intangible incarnates with weight and gravity. 

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This cosmic fertility resists all forms of domestication and marks the threshold of a posthuman individuation: a space where ancient archetypes are reborn in new forms, the digital shadow, the algorithmic anima, the cyborg self and where psyche transforms into code, and code becomes soul. Thus, `El peso de lo inmaterial´, reveals that the invisible is the true substance of the contemporary self. 

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Victoria Rivers Curator and writer 

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¹ Donna J. Haraway, A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century, in Simians, Cyborgs, and Women: The Reinvention of Nature (Madrid: Cátedra, 1995). ² Maurice Merleau-Ponty, Phenomenology of Perception (Mexico: Fondo de Cultura Económica, 2005). ³ Martin Heidegger, Being and Time, trans. José Gaos (Madrid: Fondo de Cultura Económica, 2003); and The Origin of the Work of Art, in Paths that Lead Nowhere (Madrid: Alianza Editorial, 2001). 

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