The Fabric of Reality explores how what we perceive as real is only a fragment of a deeper system. Through mirrored forms and visual tension, the work reveals hidden structures that shape our experience, often unnoticed because we exist within them.

Etched Andean motifs are folded into Platonic solids and suspended like a solar system. The installation becomes an Andean cosmogram, where pattern and geometry reveal hidden structures of reality.

Divergence Point explores the illusion of symmetry and the fragmentation of reality. Mirrored figures sit in transparent cubes, evoking parallel worlds that exist side by side but remain disconnected.

Wormhole I & II is a mirrored painting installation exploring the emotional and temporal dissonance of living parallel lives. Suspended back-to-back and encircled by a Möbius strip, the work reflects on memory, non-linear time, and the impossibility of being fully present in just one reality.

Fragmented Realities is a mirrored installation that invites viewers to see themselves multiplied and fractured across shifting planes of reflection. The work explores the idea of parallel versions of the self.

In It's Just Ice a melting block of ice is dragged through Rome, tied to a red thread of connection. Inspired by José Watanabe’s El guardián del hielo, the work reflects on love, loss, and the quiet act of holding on to what inevitably disappears.

Invisible Fauna visualizes the psychosomatic impact of emotions by depicting them as creatures inhabiting the body. Using invisible ink on a bodysuit, the project reveals hidden emotional burdens, making the unseen tangible.

In Symbiotic Relationships is explored emotional reliance by merging with her parrot through feathers. The performance reflects deep bonds, mirroring both avian attachment and her relationship with her mother.

La Cena is an accordion-style artist’s book depicting a snake’s anatomy and a swallowed mouse, paired with a poem exploring predation and transformation.

Mara Espinosa Erda’s Vamos al Mercado examines Latin American markets as spaces of culture, chaos, and commodification through visceral paintings, prints, videos, and installations. The exhibition critiques consumerism, contrasting raw meat with identity and extending market themes to the objectification of women.

Printmaking series

In Meat, Mara Espinosa Erda merges self-acceptance with a critique of women’s objectification in consumer culture. Depicting a female body wrapped in plastic like supermarket meat, the painting confronts the commodification of femininity, urging viewers to question capitalism’s role in dehumanization.

The series explores the artist’s evolving relationship with meat, transforming childhood discomfort into artistic fascination. By depicting its grotesque beauty, she challenges viewers to confront and rethink their perceptions.

Video and photo documentation of the series 'Vamos al Mercado'