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	<title>Sergio Suarez</title>
	<link>https://sergiosuarez.work</link>
	<description>Sergio Suarez</description>
	<pubDate>Wed, 03 Jun 2026 03:31:52 +0000</pubDate>
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		<title>Exhibitions</title>
				
		<link>https://sergiosuarez.work/Exhibitions-1</link>

		<pubDate>Thu, 29 Dec 2022 17:08:05 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

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Exhibitions

2026
2025 
2024
2023
2022

2020

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		<title>2026</title>
				
		<link>https://sergiosuarez.work/2026</link>

		<pubDate>Wed, 03 Jun 2026 03:31:41 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

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		<description>

	
	Anamnesis
Michael C. Carlos Museum - Atlanta, GA
	
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		<title>2025</title>
				
		<link>https://sergiosuarez.work/2025</link>

		<pubDate>Fri, 27 Jun 2025 16:33:14 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

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	Rituals of Persistence 
Patel Brown - Toronto. CAN

Traces of an Unseen Fire MOCA GA - Atlanta, GA.New Voices: On Futurity Print Center of New York - Chelsea, NYVoids &#38;amp; Thresholds Sargent’s Daughters - Tribeca, NYSituar la Orilla del Cosmos Fundacion Casa Wabi Sabino - Ciudad de Mexico, MX

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		<title>Rituals of Persistence </title>
				
		<link>https://sergiosuarez.work/Rituals-of-Persistence</link>

		<pubDate>Wed, 03 Jun 2026 03:31:52 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

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		<description></description>
		
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		<title>Traces of an unseen fire</title>
				
		<link>https://sergiosuarez.work/Traces-of-an-unseen-fire</link>

		<pubDate>Fri, 27 Jun 2025 16:29:34 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

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		<description>
Traces of an Unseen Fire - MOCA GA
06.20.25 -08.16.25











&#38;nbsp; &#38;nbsp; Fire, in its perpetual becoming, does not only consume: it also reveals, transforms, and leaves barely legible marks in the sliver of the visible. Traces of an Unseen Fire, Sergio Suárez’s solo exhibition at MOCA GA, is an exercise in speculative archaeology—a cartography of the sacred that seeps through layers of time, matter, and language, where printmaking, ceramics, and cosmological imagery intertwine to question the possible futures buried within the present.


Suárez operates in the porous boundary between the sacred and the corporeal, between ancestral gestures and the contemporary gaze. His prints exist halfway between devotional iconography and astral schematics; they are thresholds to cosmologies sedimented in strata of cosmic memory. Illegible liturgies that remind us that all narrative constructions are provisional.


Each crystallized wave and every ceramic fragment is a topography of touch. In the constellations of forms—evoking both funerary archaeological traces and the geometric patterns of a collapsing star—lies a visual syntax that does not distinguish between the metaphysical and the empirical, between clay and pixel: a syncretism that is not reconciliation but a controlled erosion of the boundaries between categories. At a historical moment when the future appears to us as a horizon in flames, Traces of an Unseen Fire reminds us that fire is not a metaphor but an agent of chemical metamorphosis. It does not purify; it transmutes. And that we must transmute the rubble of history into a narrative that allows us to inhabit chaos without domesticating it—an ontology of the residual that understands the past not as origin but as an active geological layer where time not only dissolves, it will also solidify the beginning of something else, something we may not yet know how to name: traces of another world.
-S







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		<title>Voids &#38; Thresholds </title>
				
		<link>https://sergiosuarez.work/Voids-Thresholds</link>

		<pubDate>Sat, 28 Jun 2025 22:55:18 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

		<guid isPermaLink="true">https://sergiosuarez.work/Voids-Thresholds</guid>

		<description>Voids and Thresholds&#38;nbsp; Sargent’s Daughters Viewing Room&#38;nbsp;
Tribeca, NYC.&#38;nbsp; 05.09.25 - 06.07.25


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Sargent's Daughters is pleased to present Voids and thresholds, the New York solo debut of Mexican-born, Atlanta-based artist Sergio Suárez. In a practice that encompasses woodblock carvings and prints, paintings, drawings, and sculptures, Suárez creates resonant allegories of metaphysical forces. Drawing equally upon Mesoamerican cosmologies and contemporary astrophysics, his work reframes concepts of temporality, translation, and syncretism.

Suárez’s practice is grounded in the tradition of woodblock printmaking, one of the most ancient techniques for reproducing an image. Often working on a monumental scale, Suárez carves directly into the wood panel, producing scenes that balance dense mark-making with unbounded forms. His compositions draw from diverse sources, including Precolombian mythologies, Catholic altarpieces, and modern images of deep space. 

After carving a panel, Suarez creates a print on muslin, and the black-and-white image serves as the substrate for his vibrant paintings. Using oil, charcoal, aerosol, and chalk pastel, Suárez adds layers of color and resonance to his work, conjuring bodies that seem to glow from within. Woven together into enigmatic tableaux, Suárez’s figures enact rituals of creation and destruction, emerging from pools of water, dipping their fingers into divine fire, and offering orbs that seem to contain other universes within themselves. The exhibition’s title, Voids and thresholds, evokes the spaces these fragmented bodies inhabit – the limitless complexity and potential of the cosmic void and the liminal spaces that connect them to the physical world.

The wood carving and paintings exist in dialogue with Suárez’s talismanic sculptures. Cast aluminum, textile, ceramics, and stone operate as extensions of the forms in the paintings and as speculative archeologies of the scenes depicted. For the artist, the constellations of materials and symbols in his work evoke the birth of language and the cosmos itself.
-Christine Nyce
Gallery Director

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		<title>Casa Wabi </title>
				
		<link>https://sergiosuarez.work/Casa-Wabi</link>

		<pubDate>Sat, 28 Jun 2025 23:06:54 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

		<guid isPermaLink="true">https://sergiosuarez.work/Casa-Wabi</guid>

		<description>Fundacion Casa Wabi Sabino&#38;nbsp;
Ciudad de Mexico, MEX02.03.25 - 03.13.25

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&#38;nbsp;Sergio Suárez (born Mexico, 1995) describes the contents of his monumental woodcuts as constituting “an imaginary cosmology.” Cosmology is the branch of astronomy that deals with the origins and structure of the universe. It is essentially the practice of looking into the sky while wondering who we are, how we came to be, and where we fit into the larger scheme of things. What Suárez means by ”imaginary” is that the practice of investigation implied in these prints is allegorical, nonspecific, poetic, and personal, as opposed to technical or systematic. There is a reason some physicists compare quantum mechanics to mysticism: its core subject is exploring the invisible unknown by indirect means.Though characterized by quite a lot of environmental and figurative turmoil (exploding volcanoes, fragmentary bodies), the subject of Suárez’s prints is not apocalypse but sublimity (awesomeness) in the Romantic sense. They are also a form of history painting, but independent of narrative. Suárez describes their densely populated suggestiveness as an empty vessel that can be filled by anyone and then poured into other understandings. Which makes his cosmology a working allegory for the many human traditions, both scientific and pseudoscientific, of seeking to push our consciousness beyond ourselves. This yearning for cosmic epiphany appears in many of his prints in the timeless visual metaphor of sparks from an earthly fire spiraling up to join the stars in the night sky.Suárez’s visual investigations draw on visual ideas from sources as diverse as the heady early days of twentieth century science fiction illustration, cosmically-minded Romantics such as John Martin and William Blake, and Renaissance and Baroque printmakers like Albrecht Durer and Hendrik Goltzius. For Suárez one of the principal attractions of printmaking is its history as an investigative practice and a form of scholarship. From the Renaissance through the Enlightenment and right up to the advent of photography, art and science were intertwined in printmaking in the advancement of what was known as natural philosophy. Suárez has revived philosophical printmaking on a grand scale in order to explore what he calls “the porous membrane that exists between the material and the symbolic,” as well as how technique can blossom into meaning.Shown here in the city of Suárez’s birth, these elaborately allusive allegories will also inevitably recall the works of the Mexican muralists: particularly their obsession with the unknowability and intractability of the larger social contract—for which the vastness of the heavens remains such a powerful metaphor. This impression of kinship is further strengthened by complementary architectonic arrangements of suggestively symbolic objects that openly refer to many of the same Indigenous American points of reference that inspired artists such as Diego Rivera (1886-1957). Rivera described Creation, his seminal mural (1922) for El Colegio de San Ildefonso—with its enigmatic rainbow-encircled, starry sphere radiating god hands—as allegorizing “the relationship between Mankind and the Elements, that is to say, the origin of the Sciences and the Arts…a kind of essential abbreviation of man.” Full of contingent bodies phase-shifting between heaven and earth, Suarez’s prints might easily be mistaken for studies or cartoons for new murals along similar lines. Star maps in pursuit of that most characteristic desire of our sky-viewing species: the need to follow our uncertainties into the cosmos.-Dakin HartCurator
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		<title>2024</title>
				
		<link>https://sergiosuarez.work/2024</link>

		<pubDate>Fri, 27 Jun 2025 16:40:28 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

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	Aphelion
Pale Fire Projects - Vancouver, B.CCosmic Procession&#38;nbsp;
KDR - Miami, FL.ShrineHawkins HQ - Atlanta, GA&#38;nbsp;
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		<title>Aphelion</title>
				
		<link>https://sergiosuarez.work/Aphelion-1</link>

		<pubDate>Tue, 16 Jul 2024 02:49:32 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

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Aphelion&#38;nbsp;Pale Fire Projects - Vancouver B.C.
06/28/24-08/15/24


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Pale Fire is proud to present Sergio Suárez’s first exhibition in Canada. The exhibition coincides with the Earth reaching its farthest position from the sun in its orbital cycle. This occurs annually, roughly two weeks after the summer solstice. The phenomenon is called aphelion, a term composed of the ancient Greek words apo, for “far,” and helios, for “sun.” In Greek cosmology, Helios is the god of the sun and vision. He is an omniscient witness who oversees oaths, magic, and spells.Cosmology is a means of organizing human emplacement and connection in the universe. Philosopher Frederico Campagna has described it as a melodic line that imprints a sense of harmony onto the inherent cacophony of existence. Suárez is curious about the diverse melodies that people have composed throughout history. His compositions are densely saturated with icons, symbols and gestures that conjure the traditions of frescoes, mosaics and codices. His prints and installations produce encounters between visual lexicons that open up how these systems have been coded, metaphysically, socially and politically.Suárez works extensively with woodblock printmaking—a craft that he refers to as “composing in time.” He employs minimal sketching and develops images slowly, through an accretion of marks. His confidence in image-making was nurtured through his training in geometry and drafting, acquired during his time studying aeronautical engineering. Air currents and electromagnetism introduced Suárez to how disciplines such as meteorology and physics give structure and narrative to intangible phenomena. This experience piqued his interest in other cultural and linguistic traditions that seek to articulate the means and meaning of planetary origins and functions.The sun—as the primary source of light and heat, a measure of time and a marker of place—features in origin stories (called cosmogonies) from around the world. The Mexica cosmogony of the five suns, for example, organizes time into five cycles of creation and destruction, ruled by five sun gods. We reside in the epoch of the fifth sun, governed by the war-like god Tōnatiuh, whose reign is motivated by movement and whose demise is predicted to be caused by earthquakes.Our era is allegedly governed by science and rationalism. Though predicated on the notion of a “stable truth,” these melodic lines are no more resolute than those that preceded or parallel them. At the limits of technical perception and empirical reason is an edge that may open up onto other melodic lines, such as the echo of Tōnatiuh’s rage or Helios’s spells. Suárez’s matrices are the imaginal architectures&#38;nbsp;(as Campagna calls artworks) that invite us to encounter existence at the limits of ocular vision, where a form of insight—perhaps akin to the omniscience of the sun— invites us to enter the magic of being.&#38;nbsp;
Amy Kazymerchyk
Director

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	<item>
		<title>Cosmic Procession</title>
				
		<link>https://sergiosuarez.work/Cosmic-Procession</link>

		<pubDate>Tue, 16 Jul 2024 03:16:17 +0000</pubDate>

		<dc:creator>Sergio Suarez</dc:creator>

		<guid isPermaLink="true">https://sergiosuarez.work/Cosmic-Procession</guid>

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Cosmic Procession
KDR - Miami, FL
04/06/24-05/04/24
&#38;nbsp; &#38;nbsp; &#38;nbsp; KDR is delighted to present "Cosmic Procession", a solo exhibition of new works by Sergio Suárez. This exhibition marks his first with the gallery and will be on view from April 6th to May 4th, 2024.
&#38;nbsp; &#38;nbsp; In "Cosmic Procession," Suárez takes us to a liminal space where astral and material planes converge. His recent explorations of varied materiality and image construction draw ideas from baroque painting, Mesoamerican objects, and telescopic observation. Suárez constructs a visual lexicon that interplays syncretism and porosity. Through woodblock carving, painting, and ceramics, he blends ritual symbolism with contemporary cosmology.
&#38;nbsp; &#38;nbsp; Suárez's environments are populated with totemic architecture, forms that overlap and collapse in space, and illusive bodies that exist between dimensions. We confront portals, shooting stars, comets, and figures basking in otherworldly energies. Oscillating between empirical observation, material experimentation, and poetic and esoteric approaches to making, "Cosmic Procession" invites a journey beyond ordinary perception, revealing existence as an intricate tapestry woven from matter, culture, and the unknown.&#38;nbsp; 
 &#38;nbsp; &#38;nbsp; Katia David RosenthalGallery Owner &#38;amp; Director


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