Rocío Gordillo has had a first contact with meditation and yoga during a workshop in which she practiced introspection exercises. She then traveled to India. This experience changed her life. (…) From then on she became a practice of the vipassana meditation, a practice belonging to the Theravada Buddhism.(…) To produce the paintings of this exhibition (…), the artist put in practice the full attention, a central process in vipassanatechnique. Vipassana can be translated to “comprehensive vision”, “Sharp vision” or “discernment”. Rocío underlignes that it isa ll about “living reality as it is” without assuming the existence of a signified world. “we live interpretating everything” she says. So she investigates into the direct experience, without filters such as concept or representations. (…) “In this specific series of paintings, a picture begins after a session of vipassana meditation of 20 minutes or 1 hour, which implies a very punctual attention on what is experience during that period of time: to be conscious of breathing and all the sensations in the body, just as if you were scanning your body. The intention is to impregnate the painting with this experience of full attention. (…) The wax, the pigments and the frame are a whole in which are included the mind (sensation, perception, disposition, awareness), the hands and the body of the artist. From “Pinturas e imágenes para sanar. Obra pictórica de Rocío Gordillo”, by Fernando Zamora

Rocío Gordillo (Mexico City, 1980) studied Visual Arts at the Instituo Allende, at the National University (Unam) and art theory at the Parque Lage School in Rio de Janeiro, Brazil.



In SOL JAGUAR, Agustín González (1978, Mexico City) shows his most representative body of works: paintings on paper or canvas. The title of the exhibition is inspired by Italo Calvino’s unfinished collection of short novels Bajo el Sol Jaguar, dedicated to the 5 senses. In his eponymous text, Calvino tells the story of an Italian couple visiting Oaxaca and discovering its cuisine, detailing flavors and smells. It is not surprising that González refers to literature to name an exhibition in which each picture calls a story, a legend, a memory, sometimes involving painted text on the image. Sometimes tormented, often nostalgic and working with bold brush touches, González shows indeed a great sensitivity, especially in his big formats in which the artist’s body and mind are fully engaged.

Agustín González studied at historical Esmeralda art school.  He is a renowned painter of his generation. Museums such as Carrillo Gil, Museo de Arte Moderno (MAM) or ZKM Center (Karlsruhe, Germany) have shown his work. He is part of private and institutional collections such as Colección Jumex (Mexico City), Pérez Art Museum (Miami) or Grafische Sammlung (Stuttgart). At YAM Gallery, González actually shows a series of etchings recently acquired by The British Museum