{"title":"Fever Dream","description":"","products":[{"product_id":"roberto-benavidez-illuminated-pinata-no-22","title":"Illuminated Piñata No. 22","description":"\u003cdiv\u003e\n\u003cp\u003e38\"×12\"×11\"\u003cbr\u003ePaper, wire, tape, glue\u003cbr\u003e2026\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003ePiñata-based sculptor, Roberto Benavidez (b.1973 Beeville, TX)  is a self described “Half-breed, South Texan, queer, figurative sculptor” specializing in the piñata form; playing on themes of race, sexuality, art, sin, humor, ephemerality and beauty.\u003c\/p\u003e\n\u003cp\u003e“I was drawn to ancient imagery of mythological hybrid creatures, which parallel the mixed race part of myself. When I was growing up in south Texas in the 70s and 80s, it was a very racist time and place, and it felt like Mexicans were second-tier citizens. I want to push the piñata into a realm where you’re forced to see it as valuable, moving it into new spaces to show that we belong everywhere.” For Benavidez, Mexican craft—in all its celebratory, brightly-colored, and hand-worked glory—acts as a stage to explore sexuality and intersectional identities with a wink of whimsy and absurdism.\u003c\/p\u003e\n\u003cp\u003eHis work is represented in the permanent collections of the Renwick Gallery at the Smithsonian American Art Museum, The Museum of International Folk Art, LA Metro, and the Detroit Institute of Arts, among others. His sculptures have been featured in publications including American Craft Magazine, ARTnews, Artsy, Atlas Obscura, Audubon Magazine, The Guardian, hifructose.com, Hyperallergic, LUXE Interiors + Design, Politiken, The New York Times and This Is Colossal. 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When I was growing up in south Texas in the 70s and 80s, it was a very racist time and place, and it felt like Mexicans were second-tier citizens. I want to push the piñata into a realm where you’re forced to see it as valuable, moving it into new spaces to show that we belong everywhere.” For Benavidez, Mexican craft—in all its celebratory, brightly-colored, and hand-worked glory—acts as a stage to explore sexuality and intersectional identities with a wink of whimsy and absurdism.\u003c\/p\u003e\n\u003cp\u003eHis work is represented in the permanent collections of the Renwick Gallery at the Smithsonian American Art Museum, The Museum of International Folk Art, LA Metro, and the Detroit Institute of Arts, among others. His sculptures have been featured in publications including American Craft Magazine, ARTnews, Artsy, Atlas Obscura, Audubon Magazine, The Guardian, hifructose.com, Hyperallergic, LUXE Interiors + Design, Politiken, The New York Times and This Is Colossal. Most recently he was featured in the New York Times Series “The Art of Craft.” Benavidez has shown in group and solo exhibitions, including at the AD\u0026amp;A Museum at UCSB, Craft In America, Mingei International Museum, Palo Alto Art Center, Self Help Graphics, Mesa Contemporary Art Museum and Riverside Art Museum; his work was included in the 2024 Homo Faber Biennial in Venice, Italy, and the 2025 Cheongju Craft Biennale in Cheongju, South Korea. Metro commissioned him to contribute to the “Through the Eyes of Artists” poster series (2019); his Bosch fruit fascinators are featured in the finale of The Interview with the Vampire series on AMC+. He is also featured in the “Play” episode of the Craft In America PBS series, and is the subject of the 2024 documentary short “Piñatas of Earthly Delights” directed by Tom Maroney.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Roberto Benavidez","offers":[{"title":"Default Title","offer_id":47209879240835,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/1600\/5251\/files\/Roberto_Benavidez_2.png?v=1770880279"},{"product_id":"abstract-pinata-no-11","title":"Abstract Piñata No. 11","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e16\" x 17\" x 9\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePaper, paperboard, glue, crepe paper, wire\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2024\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003ePiñata-based sculptor, Roberto Benavidez (b.1973 Beeville, TX)  is a self described “Half-breed, South Texan, queer, figurative sculptor” specializing in the piñata form; playing on themes of race, sexuality, art, sin, humor, ephemerality and beauty.\u003c\/p\u003e\n\u003cp\u003e“I was drawn to ancient imagery of mythological hybrid creatures, which parallel the mixed race part of myself. When I was growing up in south Texas in the 70s and 80s, it was a very racist time and place, and it felt like Mexicans were second-tier citizens. I want to push the piñata into a realm where you’re forced to see it as valuable, moving it into new spaces to show that we belong everywhere.” For Benavidez, Mexican craft—in all its celebratory, brightly-colored, and hand-worked glory—acts as a stage to explore sexuality and intersectional identities with a wink of whimsy and absurdism.\u003c\/p\u003e\n\u003cp\u003eHis work is represented in the permanent collections of the Renwick Gallery at the Smithsonian American Art Museum, The Museum of International Folk Art, LA Metro, and the Detroit Institute of Arts, among others. His sculptures have been featured in publications including American Craft Magazine, ARTnews, Artsy, Atlas Obscura, Audubon Magazine, The Guardian, hifructose.com, Hyperallergic, LUXE Interiors + Design, Politiken, The New York Times and This Is Colossal. Most recently he was featured in the New York Times Series “The Art of Craft.” Benavidez has shown in group and solo exhibitions, including at the AD\u0026amp;A Museum at UCSB, Craft In America, Mingei International Museum, Palo Alto Art Center, Self Help Graphics, Mesa Contemporary Art Museum and Riverside Art Museum; his work was included in the 2024 Homo Faber Biennial in Venice, Italy, and the 2025 Cheongju Craft Biennale in Cheongju, South Korea. Metro commissioned him to contribute to the “Through the Eyes of Artists” poster series (2019); his Bosch fruit fascinators are featured in the finale of The Interview with the Vampire series on AMC+. He is also featured in the “Play” episode of the Craft In America PBS series, and is the subject of the 2024 documentary short “Piñatas of Earthly Delights” directed by Tom Maroney.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Roberto Benavidez","offers":[{"title":"Default Title","offer_id":47209880125571,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/1600\/5251\/files\/Ro5.png?v=1771289030"},{"product_id":"abstract-pinata-no-10","title":"Abstract Piñata No. 10","description":"\u003cdiv\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e13\" x 11\" x 5\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePaper, paperboard, glue, crepe paper, wire\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2024\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003ePiñata-based sculptor, Roberto Benavidez (b.1973 Beeville, TX)  is a self described “Half-breed, South Texan, queer, figurative sculptor” specializing in the piñata form; playing on themes of race, sexuality, art, sin, humor, ephemerality and beauty.\u003c\/p\u003e\n\u003cp\u003e“I was drawn to ancient imagery of mythological hybrid creatures, which parallel the mixed race part of myself. When I was growing up in south Texas in the 70s and 80s, it was a very racist time and place, and it felt like Mexicans were second-tier citizens. I want to push the piñata into a realm where you’re forced to see it as valuable, moving it into new spaces to show that we belong everywhere.” For Benavidez, Mexican craft—in all its celebratory, brightly-colored, and hand-worked glory—acts as a stage to explore sexuality and intersectional identities with a wink of whimsy and absurdism.\u003c\/p\u003e\n\u003cp\u003eHis work is represented in the permanent collections of the Renwick Gallery at the Smithsonian American Art Museum, The Museum of International Folk Art, LA Metro, and the Detroit Institute of Arts, among others. His sculptures have been featured in publications including American Craft Magazine, ARTnews, Artsy, Atlas Obscura, Audubon Magazine, The Guardian, hifructose.com, Hyperallergic, LUXE Interiors + Design, Politiken, The New York Times and This Is Colossal. Most recently he was featured in the New York Times Series “The Art of Craft.” Benavidez has shown in group and solo exhibitions, including at the AD\u0026amp;A Museum at UCSB, Craft In America, Mingei International Museum, Palo Alto Art Center, Self Help Graphics, Mesa Contemporary Art Museum and Riverside Art Museum; his work was included in the 2024 Homo Faber Biennial in Venice, Italy, and the 2025 Cheongju Craft Biennale in Cheongju, South Korea. Metro commissioned him to contribute to the “Through the Eyes of Artists” poster series (2019); his Bosch fruit fascinators are featured in the finale of The Interview with the Vampire series on AMC+. 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Through hyper-intense sculptural expressions, she deconstructs the complex terrains of female identity—mapping the intricate landscapes of pain, pleasure, vulnerability, and strength. Her work has been exhibited both in the US and internationally, including at the Sean Kelly Gallery in New York; Fukuoka Asian Art Museum in Japan; Arthur M. Sackler Museum of Art and Archaeology in Beijing, China; and CAMAC in Marney-sur-Seine, France, among others. She has received numerous prestigious grants and fellowships, such as the 2022 TOY Fellow and the 2022 NXTHVN Fellowship in New Haven, USA, the Fukuoka Asian Art Museum Artist Residency Grant in Japan (2010), the Pollock-Krasner Foundation Grant (2008), a residency at the Skowhegan School of Painting and Sculpture (2005), and the UNESCO-Aschberg Bursaries for Artists Fellowship (2005).\u003c\/p\u003e\n\u003cp\u003eHer works are part of several esteemed collections, including the Fukuoka Asian Art Museum in Japan, the Arthur M. 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Through hyper-intense sculptural expressions, she deconstructs the complex terrains of female identity—mapping the intricate landscapes of pain, pleasure, vulnerability, and strength. Her work has been exhibited both in the US and internationally, including at the Sean Kelly Gallery in New York; Fukuoka Asian Art Museum in Japan; Arthur M. Sackler Museum of Art and Archaeology in Beijing, China; and CAMAC in Marney-sur-Seine, France, among others. She has received numerous prestigious grants and fellowships, such as the 2022 TOY Fellow and the 2022 NXTHVN Fellowship in New Haven, USA, the Fukuoka Asian Art Museum Artist Residency Grant in Japan (2010), the Pollock-Krasner Foundation Grant (2008), a residency at the Skowhegan School of Painting and Sculpture (2005), and the UNESCO-Aschberg Bursaries for Artists Fellowship (2005).\u003c\/p\u003e\n\u003cp\u003eHer works are part of several esteemed collections, including the Fukuoka Asian Art Museum in Japan, the Arthur M. 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Through hyper-intense sculptural expressions, she deconstructs the complex terrains of female identity—mapping the intricate landscapes of pain, pleasure, vulnerability, and strength. Her work has been exhibited both in the US and internationally, including at the Sean Kelly Gallery in New York; Fukuoka Asian Art Museum in Japan; Arthur M. Sackler Museum of Art and Archaeology in Beijing, China; and CAMAC in Marney-sur-Seine, France, among others. She has received numerous prestigious grants and fellowships, such as the 2022 TOY Fellow and the 2022 NXTHVN Fellowship in New Haven, USA, the Fukuoka Asian Art Museum Artist Residency Grant in Japan (2010), the Pollock-Krasner Foundation Grant (2008), a residency at the Skowhegan School of Painting and Sculpture (2005), and the UNESCO-Aschberg Bursaries for Artists Fellowship (2005).\u003c\/p\u003e\n\u003cp\u003eHer works are part of several esteemed collections, including the Fukuoka Asian Art Museum in Japan, the Arthur M. 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Through hyper-intense sculptural expressions, she deconstructs the complex terrains of female identity—mapping the intricate landscapes of pain, pleasure, vulnerability, and strength. Her work has been exhibited both in the US and internationally, including at the Sean Kelly Gallery in New York; Fukuoka Asian Art Museum in Japan; Arthur M. Sackler Museum of Art and Archaeology in Beijing, China; and CAMAC in Marney-sur-Seine, France, among others. She has received numerous prestigious grants and fellowships, such as the 2022 TOY Fellow and the 2022 NXTHVN Fellowship in New Haven, USA, the Fukuoka Asian Art Museum Artist Residency Grant in Japan (2010), the Pollock-Krasner Foundation Grant (2008), a residency at the Skowhegan School of Painting and Sculpture (2005), and the UNESCO-Aschberg Bursaries for Artists Fellowship (2005).\u003c\/p\u003e\n\u003cp\u003eHer works are part of several esteemed collections, including the Fukuoka Asian Art Museum in Japan, the Arthur M. 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He can lead to perdition, but only if the traveler accepts his help, climbs onto his horse, or accepts his riches, otherwise he only offers companionship. Most people in modern Mexico have been shaped by the Catholic religion. Similarly, Swiss religion, myths, and legends are a mixture of European traditions and influences, such as Christianity, and blends of both. Mexico and Switzerland have a strong attachment to nature and a great symbolism of power surrounding mountains. El Charro Negro comes from the series THE HOLY MOUNTAINS, a hybrid project that blends the two worlds through fictional cultural overlaps.\"\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDiego Moreno\u003c\/em\u003e (b. San Cristobal de las Casas, Chiapas, Mexico, 1992) is a visual artist, photographer, and narrative storyteller based between Mexico and Switzerland. His work approaches photography as a tool to create new worlds, entwined with text, drawing, and painting. Through family photo archives, graphic intervention, and collage, he explores popular mythology, legends, and magical stories, drawing analogies and creating invented realities. His work centers themes of identity, religion, violence, affection, and the complexity of family and cultural ties. He considers photography a medium for narrative control, which has inspired his focus on photobooks.\u003c\/p\u003e\n\u003cp\u003eHe has been named as one of the most influential young photographers in the world by The British Journal Of Photography UK; Creative Review UK and FOAM MAGAZINE Netherlands. He has received various awards: the POY LATAM Latin American Photography Award in three categories in 2025 and 2019 in Quito, Ecuador; the UNSTUCK 2022 Award in Toronto, Canada, awarded by the Magenta Foundation; FOAM TALENT 2022 in Amsterdam; iPhone Photography Awards 2021 in New York; LensCulture Art Awards 2021 in Amsterdam; Cheerz Photo Festival 2019 in Paris, France; International Image Award 2019 in Mexico; LensCulture Emerging Talent Award 2018 in Amsterdam; and the Acquisition Award at the 10th Puebla de los Ángeles Biennial 2015 in Mexico. \u003cbr\u003e\u003cbr\u003eHe has shown in more than twenty solo exhibitions and multiple group exhibitions across the globe. His photographs are included in public and private collections including the Getty Guggenheim Memorial Foundation (New York), AirMontreux (Switzerland), FOAM Fotografie Museum (Amsterdam), the Fundación Televisa (Mexico DF), the Universidad Iberoamericana (Puebla), and the Centro Cultural Estación Mapocho (Santiago de Chile). He currently lives and works between Mexico and Switzerland.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Diego Moreno","offers":[{"title":"Default Title","offer_id":47209907323011,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/1600\/5251\/files\/ElCharronegro_0285e0f4-cfea-4b33-8cfe-74668829b88e.jpg?v=1779847681"},{"product_id":"retrato-psicologico","title":"Retrato psicológico","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e56\"x74’\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSpray paint, Oil paint, Soft pastels, Oil pastels and Color pencil on canvas\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2026\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLarissa De Jesús Negrón \u003c\/em\u003e\u003cspan\u003e(b. Puerto Rico, 1994) is a multidisciplinary artist working across painting, installation, and visual storytelling. Her practice constructs surreal landscapes that weave memory, emotional inquiry, and embodied experience. Water functions as a central metaphor for psychological movement and introspection, while the female body operates as both archive and agent, grounding her work in themes of vulnerability, femininity, and inner transformation.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBorn and raised in San Juan, Puerto Rico, Larissa resided in various municipalities including Guaynabo, Trujillo Alto, and Caguas. Larissa pursued her secondary education at Central High, a prestigious art-focused institution in Puerto Rico, culminating in her graduation with the school's highest accolade. Subsequently, she sought to expand her artistic horizons at The School of Plastic Arts in Old San Juan, specializing in Drawing and Painting. Transitioning to Hunter College in New York City, Larissa earned her BFA degree with distinction.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLarissa’s work has been exhibited extensively, including in solo exhibitions at Anna Zorina Gallery and Nicodim, and in group shows at Harpers Gallery, The Hole and Nino Mier. She has also shown at leading art fairs, including KIAF Seoul, NADA, Untitled and The Armory Show.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Larissa De Jesús Negrón","offers":[{"title":"Default Title","offer_id":47209908076675,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/1600\/5251\/files\/Screenshot_2026-02-12_at_2.51.55_PM.webp?v=1779847823"},{"product_id":"4-i-am","title":"4 I AM","description":"\u003cp\u003e50\"x40’\"\u003cbr\u003eOil on Canvas\u003cbr\u003e2024\u003c\/p\u003e\n\u003cp\u003e\"4 I am refers both to the multiplication of the self and to the hour when sleep refuses to arrive. Set within parasomnia, the body becomes both refuge and site of exposure, suspended among fragments of memory, desire, and distraction that extend the self. As wakefulness stretches on, a nearly no-signal television playing Courage the Cowardly Dog mirrors nocturnal fears, while the room shifts from a physical space into an imagined one shaped by anxiety and overthinking. Parasomnia series.\"\u003c\/p\u003e\n\u003cp\u003ePedro Tronocoso (b. 1996, Dominican Republic) is a New York–based artist whose work layers erased narratives into dreamlike spaces where blurred identities confront colonial impact. In the fragile space between ancestry and autonomy, his work asks: how much of our heritage are we willing to negotiate or rebuild? He earned his BFA in Illustration at Parsons School of Design after formative studies at Altos de Chavón, La Escuela de Diseño (DR), and holds an MFA in Fine Arts from the New York Academy of Art. His work has been shown at the 29th and 31st Dominican Biennials, NADA, Art Central Hong Kong, ComplexCon, and the AXA Art Prize, with additional exhibitions in New York, Los Angeles, Hong Kong, Puerto Rico, and Beijing. His practice has been profiled in Blanc Magazine, Whitewall, Artlyst, New American Paintings, among others.\u003c\/p\u003e","brand":"Pedro Troncoso","offers":[{"title":"Default Title","offer_id":47209914695811,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/1600\/5251\/files\/0_HIGHRES_83d4034c-f6d0-4b9c-beec-4f450311f1aa.webp?v=1779847897"},{"product_id":"perla-cautiva-captive-pearl","title":"Perla Cautiva (Captive Pearl)","description":"\u003cp\u003e15\"x30’\"\u003cbr\u003eGraphite and mixed media on wood panel\u003cbr\u003e2026\u003c\/p\u003e\n\u003cp\u003e\"Perla Captiva (Captive Pearl) is part of the Dividing Goddesses series, where Caribbean bodies are pierced by ornamental armatures that mark sharp scars of struggle while regrowing roots of crayon and epoxy. The Pearl Queen emerges from a cage opening between two drawings. The pearl, an exploited good, becomes a piercing of power as the crab turns into a crown. Though the figure appears in a trance, awakened forces resist the residue of history.\"\u003c\/p\u003e\n\u003cp\u003ePedro Troncoso (b.1996, Dominican Republic) is a New York–based artist whose work layers erased narratives into dreamlike spaces where blurred identities confront colonial impact. In the fragile space between ancestry and autonomy, his work asks: how much of our heritage are we willing to negotiate or rebuild? He earned his BFA in Illustration at Parsons School of Design after formative studies at Altos de Chavón, La Escuela de Diseño (DR), and holds an MFA in Fine Arts from the New York Academy of Art. His work has been shown at the 29th and 31st Dominican Biennials, NADA, Art Central Hong Kong, ComplexCon, and the AXA Art Prize, with additional exhibitions in New York, Los Angeles, Hong Kong, Puerto Rico, and Beijing. His practice has been profiled in Blanc Magazine, Whitewall, Artlyst, New American Paintings, among others.\u003c\/p\u003e","brand":"Pedro Troncoso","offers":[{"title":"Default Title","offer_id":47209915187331,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/1600\/5251\/files\/1_Captive_Pearl_1.webp?v=1779847955"},{"product_id":"bodegon-roto-broken-still-life","title":"Bodegón Roto (Broken Still Life)","description":"\u003cp\u003e22\"30’\"\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGraphite and mixed media on wood panel\u003c\/span\u003e\u003cbr\u003e2026\u003c\/p\u003e\n\u003cp\u003e\"Bodegón Roto (Broken Still Life) reinterprets the stereotyped Dominican paradise. The body opens as the spiny soursop is pierced by a knife, revealing the scars the Caribbean conceals beneath its beauty. The ornamental armatures, inspired by colonial architecture, sharpen into knives that threaten and cut through history. The moon binds the intimate and the universal, where every rupture carries an echo beyond the Caribbean. Dividing Goddesses series.\"\u003c\/p\u003e\n\u003cp\u003ePedro Troncoso (b.1996, Dominican Republic) is a New York–based artist whose work layers erased narratives into dreamlike spaces where blurred identities confront colonial impact. In the fragile space between ancestry and autonomy, his work asks: how much of our heritage are we willing to negotiate or rebuild? He earned his BFA in Illustration at Parsons School of Design after formative studies at Altos de Chavón, La Escuela de Diseño (DR), and holds an MFA in Fine Arts from the New York Academy of Art. His work has been shown at the 29th and 31st Dominican Biennials, NADA, Art Central Hong Kong, ComplexCon, and the AXA Art Prize, with additional exhibitions in New York, Los Angeles, Hong Kong, Puerto Rico, and Beijing. His practice has been profiled in Blanc Magazine, Whitewall, Artlyst, New American Paintings, among others.\u003c\/p\u003e","brand":"Pedro Troncoso","offers":[{"title":"Default Title","offer_id":47209916203139,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/1600\/5251\/files\/1_Broken_Stll_Life_Bodegon_Roto__1_1.webp?v=1779848194"},{"product_id":"pelo-malo-bad-hair","title":"Pelo Malo (Bad Hair)","description":"\u003cp\u003e16\" x 30’\"\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGraphite and mixed media on wood panel\u003c\/span\u003e\u003cbr\u003e2026\u003c\/p\u003e\n\u003cp\u003e\"Pelo Malo (Bad Hair) reclaims the colonial imposition of “bad hair.” Here, hair sharpens, becoming both weapon and identity. What was once marked as a defect now cuts through what was imposed. The blade that cuts is also hair that grows back, as identity regenerates and defends itself with every cycle. Dividing Goddesses series.\"\u003c\/p\u003e\n\u003cp\u003ePedro Troncoso (b.1996, Dominican Republic) is a New York–based artist whose work layers erased narratives into dreamlike spaces where blurred identities confront colonial impact. In the fragile space between ancestry and autonomy, his work asks: how much of our heritage are we willing to negotiate or rebuild? He earned his BFA in Illustration at Parsons School of Design after formative studies at Altos de Chavón, La Escuela de Diseño (DR), and holds an MFA in Fine Arts from the New York Academy of Art. His work has been shown at the 29th and 31st Dominican Biennials, NADA, Art Central Hong Kong, ComplexCon, and the AXA Art Prize, with additional exhibitions in New York, Los Angeles, Hong Kong, Puerto Rico, and Beijing. His practice has been profiled in Blanc Magazine, Whitewall, Artlyst, New American Paintings, among others.\u003c\/p\u003e","brand":"Pedro Troncoso","offers":[{"title":"Default Title","offer_id":47209918824579,"sku":null,"price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/1600\/5251\/files\/1_Bad_Hair_Pelo_Malo__1.webp?v=1779848444"}],"url":"https:\/\/www.thefridaygallery.com\/collections\/feverdream.oembed","provider":"FRIDAY","version":"1.0","type":"link"}