Metro Toronto Convention Center
October 29 – November 1
What happens to an image when it moves between the hand, the body, and technology? How do materiality, memory, and perception shape the ways we construct and experience the world?
For Art Toronto 2026, Isabel Croxatto Galería brings together four Chilean artists, Joaquín Reyes, Paloma Castillo, Carolina Muñoz, and Andrea Wolf, whose practices explore these questions through painting, hand embroidery, and new media. While their approaches differ in technique and visual language, they share an interest in challenging the boundaries of representation and reconsidering the relationships between images, bodies, and contemporary experience.
In Joaquín Reyes’s paintings, figures inhabit enigmatic scenes where narrative emerges from the physical act of painting itself. Repetition, gesture, and self-imposed constraints generate compositions suspended between ritual and estrangement, revealing the tension between formal structure and the unpredictable nature of images.
Paloma Castillo approaches embroidery as both a material practice and a critical language. Through the patient gesture of the hand, she reconfigures cultural symbols, collective imaginaries, and historical references, weaving together intimacy, irony, and political reflection. Her work challenges the distinction between traditional textile practices and contemporary visual discourse.
Carolina Muñoz explores the transformative possibilities of figuration. In her paintings, human bodies merge with organic and imagined forms, creating hybrid identities that resist fixed definitions. Her visual universe moves between the familiar and the uncanny, opening questions about the boundaries of the body, identity, and perception.
Andrea Wolf extends this investigation into the technological realm. Working with new media, she examines the fluid condition of images and the ways digital processes reshape memory, perception, and our relationship with visual culture. Her practice shows how technology not only transforms images but also shapes how we understand and experience them.
Across these four practices, the image emerges not as a fixed representation but as a shifting territory of encounters, tensions, and possibilities. From the physical gesture of painting and embroidery to the immaterial processes of digital media, each artist proposes a different way of negotiating the relationship between what is seen, what is remembered, and what can be imagined.
Rooted in the Global South, this presentation embraces hybridity, ambiguity, and transformation as forms of artistic inquiry, proposing new ways of seeing and inhabiting the contemporary world.
Isabel Croxatto Galería
Toronto, October 2026