There is an almost imperceptible threshold where matter ceases to be ground and something that doesn't entirely belong to the tangible opens up. You don't need to look up to find it: the sky in Emilio Morales's work is an immediate condition.
Morales (San Miguel de Allende, 1995) is a sculptor whose practice explores the tensions between the organic and the synthetic, between the image and its support. This is the first exhibition by an international artist at Paisaje — a conversation that began when Morales undertook a residency in Bogotá in 2025 and found in this space something that resonated with his own way of working with matter.
It was during that residency that the exhibition began to take shape: the cast aluminum of his work and the steel that defines the materiality of Paisaje share the same visual family, a proximity that is not coincidental but structural. Two metals that can be fluid or rigid, organic or industrial. This affinity opened up the interpretation of the space from the outside, a foreign gaze that reads Paisaje's materiality and responds to it with its own.
What defines each piece is not what the mirror reflects — that changes with whoever stands before it, with the time, with the light. What remains is the frame: cast aluminum with the memory of a branch, of a quick stroke, of a solidified gesture. Art theory has discussed the role of the frame as a piece as central to a work as the painting (or inner piece). Morales focuses precisely there. Thus, the frame ceases to be a structure to become an image, a sculptural form that does not support the work but rather is the work.
