Martínez Avezuela


Raúl Artiles (Las Palmas de Gran Canaria, 1985) lives and works between Gran Canaria and Munich. He has a degree in Fine Arts from the University of La Laguna, and completed his Art studies at the Hochschule für Bildende Kunste in Braunschweig (Germany). Generally, he works in large formats, presenting charcoal paper installations with which he intends to dismantle the academic and nineteenth-century vision that assigned drawing the role of a minor work, dependent on other disciplines. His imaginary landscapes, constitute fugitive visions, dominated by catastrophic approaches or apocalyptic visions – not without irony – suggesting a metaphor for the current economic and political situation. Among his solo exhibitions, we highlight I Was Here at the Contemporary Art Hall in Santa Cruz de Tenerife (2019), Black Hole, at the CAAM in Las Palmas de Gran Canarias (2015) and Souvenir. Remains of the Shipwreck, in the former convent of Santo Domingo de La Laguna, Tenerife (2012).


Bartolomé Rey (Pinilla de los Barruecos, 1964) studied drawing at the Academia del Consulado del Mar in Burgos. Since 1988, when he opened his first solo exhibition, he has participated in several solo and group exhibitions in galleries in Spain, France, Portugal, the United States, Germany and China, as well as in national and international art fairs such as Artcologne (Cologne), Artesantander and Artsevilla. In the series Cosas que pasan (Things that hapenned), started in 2020, the author explores the limits of reverie. Reality understood as a pretext, from which to cement the elaboration of paradoxically subjective sensations and interpretations.


César Barrio (Oviedo, 1971) lives and works in Madrid and Lisbon. He graduated in architecture from the University of Navarra in 2004 and has given courses and lectures as a guest lecturer at architecture schools in Pamplona, Zaragoza and Toledo. His latest projects include the solo exhibition Solo aquello que pasa por todas las puertas at the Pabellón de Mixtos de la Ciudadela in Pamplona (2021), the installation Quatro paredes de água (2019), in collaboration with AC/E and Lisbon City Council, and Rituales del imaginario, the result of his stay in 2017 at the Espacio Las catedrales de Arantzazu (Fundación Arantzazu Gaur). He has recently participated in Drawing Room Lisboa (2021) and Drawin Room Madrid (2022).

The drawings in the series Lunar Tables are the result of dialogue with the large-format work, establishing itself as a diary with its own entity. Their title comes from the appearance of the rest of the drawing that makes them up, which after many washes gives rise to dreamlike topographies that resemble both marble wells and the shadows of mute wings.

His work is represented in the collections of the University of Navarra, University of Toledo, Caja de Ahorros de Navarra, Fundación Arantzazu Gaur, ETSAUN. Pamplona, Fulbright Association, Pazo de Montecelo Foundation, Biolty, as well as in private collections in Spain, Portugal, France, Italy, Austria, Brazil, Mexico and Peru.

Exposiciones: LUNAR TABLES


Sofía Jack (Figueres, 1968). She graduated in Fine Arts from the Complutense University of Madrid and later furthered her training with Gerhard Richter, Zush, Vito Acconci and Katherina Sieverding. She has also received various grants, including those awarded by the Fundación Barrié de la Maza (HDK, Berlin), Unión Fenosa and the Academy of History, Archaeology and Fine Arts in Rome, as well as prizes from the Fondazione Antonio Ratti (Italy) and the Colegio de Ingenieros de Caminos de Madrid.

Throughout various projects he addresses the complex and uncomfortable negotiation between utopia and reality. In his charcoal drawings he recreates places that incarnated modern rationality in order to investigate its reverse side, and how the human -desires, fears, affections and feelings- cracks an idea of reason and order that becomes utopia. Sometimes they are imaginary solutions - machine-houses capable of adapting to the needs of their surroundings and their inhabitants- or else they are spaces of rationalist architecture in which he develops a psychological, emotional and affective fact, as a mirror of our personal and non-transferable life story.

His work is represented, among other institutions, in the Museo de la Real Academia de Bellas Artes de San Fernando, the CGAC, the Colegio de Ingenieros de Caminos, Canales y Puertos de Madrid, INJUVE, Museo de Arte Contemporáneo Unión Fenosa, Ministerio de Asuntos Exteriores, Diputación A Coruña, Fundación la Caixa, Museo Patio Herreriano, Comunidad de Madrid or the Colección de Arte Contemporáneo de la UNED, as well as in numerous private collections.


Fernando Martín Godoy (Zaragoza, 1975), based in London, develops his work mainly around painting to extend from there to other disciplines such as sculpture, drawing or collage. His work is based on reality -often on found images- and on the history of art itself in order to make a personal reading of the world, in which silence, gaps in information or what happens in the dark areas of memory take centre stage. His pieces often show a pulse between the real and the fictitious. Geometric games, subtlety and synthesis are essential elements in his visual universe.

Winner of the Grand Prix Santa Isabel de Portugal in 2006, his work has been shown in various art galleries and institutional spaces such as the CAB in Burgos, the Espacio Caja Madrid in Zaragoza, the CentroCentro in Madrid, the MACUF in La Coruña, the Centro Guerrero in Granada and the Fondation Suisse in Paris, and at fairs such as ARCO, Art Fair Tokyo, Arte Lisboa, Artesantander and Drawing Room. His works form part of private collections in Spain, the United Kingdom, France, Germany, Italy, Switzerland, Japan, Hong Kong and the USA, and are present in a good number of Spanish institutional collections.



Pepa Mora (Madrid, 1982) lives and works in Granada. Artist, teacher and researcher at the Drawing Department of the University of Granada. She holds a degree in Fine Arts and Art History, an International PhD cum laude (Spain, Switzerland, France) since 2017 and an Official Master's Degree in Drawing from the University of Granada. She has completed her training at the Complutense University of Madrid and at the Freie Universität in Berlin. Her latest exhibitions include her participation in Ia Iberoamericana de Toro. Mujer y Artes visuales del siglo XXI (2021), or those held in the Cuarto Real de Santo Domingo (Granada, 2019) and in the Crypt of the Palace of Charles V in the Alhambra (Granada, 2020-2021). It has also been present at fairs such as Paréidolie (Marseille, 2023), Drawing Room (Lisbon, 2022) or Gabinete. Feria del dibujo y de la estampa (RABASF, 2019).

The series Alegorías del agua y la leche (Allegories of water and milk) takes its name from the work of the same name (2021). It is the result of her own life experience in recent years in which motherhood and pandemic are mixed. Pepa Mora's work does not discard traces, they are the essential trace of the following search, the guiding thread of her enquiries, sometimes deceptions that weaken the resolution, other times illusory perceptions, other times conquests in the power of the frequency with which the spiritual manifests itself, the protagonist of her work, of the impulse with which she draws.


Eva Rodríguez Góngora (Almería, 1989) lives and works in Níjar. With a degree in Fine Arts from the University of Granada, she has exhibited her work at the Iberoamericana de Toro. Mujer y Artes visuales del siglo XXI (2021), at the Galería Ruíz Linares (Granada, 2019), at the Museo Carmen Thyssen Málaga (2015) and at the Palacio de los Condes de Gabia (Granada, 2012). She has also participated in fairs such as Paréidolie (Marseille, 2023), Artesantander (Santander, 2022), Drawing Room (Madrid, 2022) or Gabinete Art Fair in Madrid (RABASF, 2019).

Eva develops her work mainly through drawing and painting in order to investigate both the natural phenomenon and the illation of the significant elements it contains. Assuming that the patterns and formulas inscribed in nature participate in any cast of the planet, each piece, which can be understood as the result of an investigation, tries to rival human optics and reverse its scales to defuse blind spots. By directing the focus towards the small, the unknown, the forgotten or overlooked, an attempt is made to transcend epistemological limits. Drawing, as a process and as a result, supports concentration, observation and listening. The series Campos de fuerza is the result of a reflection on Nature in which the artist, by observing, points out the power of the minute and takes us into the abyss of what is certain.

Exposiciones: FORCE FIELDS


Vicky Uslé (Santander, 1981) lives and works between New York and Cantabria. Graduated in Fine Arts, Rhode Island School of Design, Providence, R.I. in 2003, her work is linked to the pictorial tradition that insists on the poetic potential of abstraction. His works on paper are dominated by dynamism, freedom, fluidity and lightness, combining techniques, formal languages and colour. In this new series called Pontocho, we find images constructed using pastel strokes combined with modular (or architectural) forms resulting from collage. Landscapes that are always subjective, open and unknown, dominated by the peacefulness and balance of a remembrance, which this time directs us to the Japanese city of Kamo and its surroundings.

Some of his works can be seen in the following institutional collections: Museo Reina Sofía, Madrid; Museo MAS, Santander; Fundación Caja Madrid, Madrid; Fundación Cañada Blanch, Valencia; "Colección Norte", Consejería de Cultura de Cantabria, Cantabria; Colección Navacerrada, Madrid; CAC Málaga, Malaga; Museo de Pamplona, Navarra; Colección Banco Central Europeo, Frankfurt; Colección Los Bragales, Cantabria and Colección Simon de Pury de Phillips, NY.