The project is structured around the work of four artists.

Ramiro Fernández Saus (Sabadell, 1961)

An artist represented by London gallery Long & Ryle, Ramiro Fernández Saus enjoys strong market recognition, with prices aligned with the British market.

Alongside paintings, we will present watercolours and small sculptures based on some of the characters that appear in his oil paintings.

Our aim is to convey this singular universe of serene scenes featuring dogs, trees, tigers, birds or steamships that, without depicting any momentous event, nonetheless captivate us.

Like the pages of an explorer’s notebook, his work offers a narrative of short strokes and restrained colours, where perspective and proportion are gently relaxed so that everything can be sublimated into an adventure waiting to be revealed.

Teresa Moro (Madrid, 1970)

For years, Teresa Moro has been painting everyday objects and exploring the affective connection we develop with them, as well as the evocative power of their relationship with their owners, most of whom are key figures in twentieth century art. More recently, she has been revisiting and reexamining the modern movement in search of an antidote to the relentless standardisation that consumer society imposes on our living spaces.

She presents an intimate collection of delicate gouaches and acrylics that outline the furniture and personal objects of Matisse, Calder, Hopper, Magritte, and the studios or small auxiliary furnishings of Bourgeois, O’Keeffe, Donald Judd or David Hockney. We are witnessing a transformation, a kind of veneration of the studio of great artists as relic or sanctuary. These images evoke a sensual, multimodal contact with objects that might trigger or restore the memories of another person with whom we would like to feel an affinity. There is a way of thinking in images, or of feeling through matter and specific objects, that cannot be transcribed into words.

Moro studied at the Complutense University of Madrid and continued her training in London on the Painting BCA at Chelsea College of Art and Design, The London Institute. Her work is held in major Spanish collections such as CGAC (Centro Galego de Arte Contemporánea, Santiago de Compostela), Fundación Endesa, Museo de Teruel, Ministerio de Cultura, MEIAC Museo Extremeño de Arte Contemporáneo, Banco Sabadell, Colección Unicaja Málaga, Colección Coca Cola España Madrid and Colección Prosegur and Colección CAB Caja Burgos, among others.

Internationally, her works are part of the collection of The Museum of Modern Art in New York, in the Judith Rothschild Foundation drawing collection, as well as the Hoggard Wagner Art Collection, also in New York.

Dis Berlin (Ciria, Soria, 1959)

Dis Berlin is one of the most prominent artists of his generation, associated with the figurative painting that emerged in Madrid from the 1980s onwards. His rich and highly personal creative world has become imprinted on the public imagination, in part because his work has appeared in many of Pedro Almodóvar’s films, from Átame! (1990) to La habitación de al lado (2024), becoming part of a shared visual culture.

Everything in his work is meticulously crafted, aesthetically, formally and thematically. From the titles, which flirt with poetry, to the narrative that unfolds across the whole, each element is the result of careful, detailed work, with nothing left to chance or improvisation.

Dis Berlin is an alchemist of colour who creates dreamlike stories open to the viewer’s interpretation. He has shown remarkable versatility in his aesthetic proposals, working across a wide range of techniques, and has successfully combined his artistic practice with roles as gallerist, publisher and curator.

Charris (Cartagena, 1962)

Ángel Mateo Charris’s work has always been closely linked to the idea of travel. His gaze is that of an explorer who moves through history and the present with a readiness for surprise, bringing together viewpoints that are sometimes impossible, combining images and concepts until he arrives at compositions that are strange yet somehow familiar.

Through a clear line figurative style and vivid colours, he creates images conceived as a collage of sources and contents that are at times in tension with one another, playing with the connections between reality and fantasy through pictorial language.

Narrative is a key element in his compositions. At times it appears subtly, at others in a much more direct way. His canvases possess something cinematic, like a single frame held in suspension. They place us in the middle of a story we do not yet know and must imagine. In this respect, his work shares a quality with that of the American realist Edward Hopper, an important reference for Charris.