Following meticulous and self-created methodologies, Gabriel de la Mora researches, collects, classifies, catalogs, and manipulates remarkably diverse materials. These materials are familiar, sourced from quotidian objects—his ongoing series The weight of thought, for example, repurposes leather and rubber shoe soles. de la Mora’s materials of choice are those often considered waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, the artist explores finitude and permanence, the passing of time, it’s bracketing, and the transformation of matter and energy alike. The formal outcome of these processes plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the resulting bodies of work complicate theoretical and historical art terms (the ready-made, the objet-trouvé, the monochrome, the peinture en plein air, among others). As such, they establish an ironic spin on the abstract and minimalist aesthetics and inquire about the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist’s hand? This apparent negation of painting and other ontological musings formulated by de la Mora’s oeuvre is extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice in which the role of the artist is not to create nor to destroy, but to transform.

Gabriel de la Mora was born on September 23, 1968 in Mexico City, where he lives and works. He earned an MFA in Painting (2001-03) from Pratt Institute, NY and a BFA in Architecture (1987-91) from Universidad Anáhuac del Norte, Mexico City. He has been a Fulbright García-Robles grant recipient, a grantee from the Jacques and Natasha Gelman Foundation, and a member of the National System of Creators-FONCA (2013-15), Mexico.

His work is part of public and private collections in Mexico and abroad, among them: Fundación/Colección JUMEX, Museo de Arte Contemporáneo Internacional Rufino Tamayo, Museo de Arte Carrillo Gil, Museo Universitario Arte Contemporáneo-MUAC, and Museo de Arte Moderno, Mexico City; Museo Amparo, Puebla, Mexico; Museum of Contemporary Art-MOCA, Los Angeles, CA; The Museum of Fine Arts, Houston, TX; El Museo del Barrio, NYC, NY; Albright-Knox, Buffalo, NY; Perez Art Museum, Miami, FL; Speed Art Museum, Louisville, KY; Centro Gallego de Arte Contemporáneo, Santiago de Compostela; Colección Banco de la República and Museo de Arte Moderno de Bogotá, Bogotá; Museo de Arte Latinoamericano-MALBA, Buenos Aires.

He is represented by  PROYECTOSMONCLOVA  (Mexico City), Timothy Taylor (London), Sicardi Ayers Bacino (Houston) and PERROTIN (Paris, New York, Seoul, Tokyo, Shanghai, and Hong Kong).


Gabriel de la Mora @ Proyectos Monclova Booth 341 / Armory Show / 9 – 11 september

Armory Show 2022
09.09.2022 – 11.09.2022
Booth 341
Abel Quezada, Hilda Palafox, Helen Escobedo, Eduardo Terrazas, Gabriel de la Mora, James Benjamin FranklinJavits Center / 429 11th Avenue
New York, NY 10001



Gabriel de la Mora , 1,800 – Di. Ju (900 II- Di.Ju.+ 900 I – Di.Ju.), 2022
Díptico de mosaico de alas de mariposa Dione juno sobre cartulina de museo y bastidor de madera / Dyptich of Dione juno butterfly wings mosaic on museum cardboard and wooden frame
Overall dimensions: 35 x 70 x 6 cm / 13.78 x 27.56 x 2.36 inches
Each image dimensions: 30 x 30 x 2 cm /11.81 x 11.81 x .79 inches
Each framed dimensions: 35 x 35 x 6 cm / 13.78 x 13.78 x 2.36 inches


The butterfly wings used in this new Lepidoptera series come from butterflies raised in butterfly farms in Peru, Indonesia and Madagascar, dying naturally when released, they are collected by local communities

Gabriel de la Mora @ Sicardi Ayers Bacino Booth 228 / The Armory Show / 8- 11 september


The Armory Show
Booth 228 | Javits Center | New York, NY
September 8-11, 2022

Sicardi | Ayers | Bacino is pleased to announce our participation in The Armory Show 2022 at the Javitz Center in New York from September 8-11. In Booth 228, the gallery will present a group exhibition featuring gallery artists Gustavo Díaz, Thomas Glassford, Marco Maggi, Gabriel de la Mora, Reynier Leyva Novo, Miguel Angel Ríos, Fanny Sanín, and Melanie Smith.

Fair Schedule:

VIP Preview invitation only
Thursday, September 8 12-8pm

Public Days
Friday, September 9 12-8pm
Saturday, September 10 12-7pm
Sunday, September 11 12-6pm

Tickets are available for purchase here.

For a preview of the booth, please call the gallery at 713.529.1313 or contact William Isbell at 832.264.3466 ( or Rebekah Bredthauer at 901.825.2909 (

IMAGE: Gabriel de la Mora, 8,684, 2022. 4,372 concave blown glass fragments and aluminum, 4,312 convex blown glass fragments and aluminum on museum cardboard and wood, 38 5/8 x 38 5/8 x 2 3/8 in.

Gabriel de la Mora @ Perrotin Booth 10 / ArtMonte Carlo / 14-16 july


Booth 10
July 14 – 16
Grimaldi Forum
10 avenue Princesse Grace, Monaco

Perrotin is pleased to return to artmonte-carlo with a selection of new paintings by American artist Danielle Orchard, who will have her first solo exhibition in Paris in September.We also showcase Lee Bae’s latest series Issu du feu (White lines) shown earlier this year at our Paris gallery.

Laurent Grasso presents some recent works including a painting from his series Studies Into The Past ahead of his major exhibition at the Collège des Bernardins, in October 2022.

Our booth also features a selection of works from Jean-Marie Appriou’s latest series Communionem Elementaris, first shown at his solo exhibition at Art Basel 2022. The Villa Medici is currently hosting a series of Appriou’s animal and plant sculptures inspired by fantastic worlds.

We are also pleased to present a new photograph by Sophie Calle titled The Ghosts of Orsay from her last solo exhibition at the Musée d’Orsay which just closed its doors.

Finally, new works by Johan Creten, Mathilde Denize, Jens Fänge, Gabriel de La Mora, Xavier Veilhan, and Pieter Vermeersch are presented alongside a selection of works by Yves Laloy and Hans Hartung.

Gabriel de la Mora @ PERROTIN Booth L25 / ART BASEL


Gabriel de la Mora @ PERROTIN Booth L25 / ART BASEL
June 16-19, 2022
Messeplatz 10, 4058 Basel, Switzerland


Jean-Marie Appriou, Johan Creten, Emi Kuraya, Hans Hartung, Lee Bae, Takashi Murakami,Gérard Schneider, Hans Hartung, Johan Creten, Emi Kuraya, Daniel Arsham, Cristina BanBan, Sophie Calle, Gabriel de la Mora, Mathilde Denize, Elmgreen & Dragset, Lionel Estève, Chen Fei, Bernard Frize, Laurent Grasso, Zach Harris, Thilo Heinzmann, JR, Bharti Kher, Jean-Michel Othoniel, Paola Pivi, Park Seo-Bo, Tavares Strachan, Xavier Veilhan, Pieter Vermeersch, Xiyao Wang, Anna-Eva Bergman, Alain Jacquet, Georges Mathieu, Jesús Rafael Soto.



Gabriel de la Mora, 3,878 – M.D, 2022, Mosaico de alas de mariposa Morpho didius sobre cartulina de museo / Morpho didius butterfly wings mosaic on museum cardboard, 60 x 60 x 2 cm / 23.62 x 23.62 x .79 inches, Enmarcado 65 x 65 x 6 cm / Framed 25.59 x 25.59 x 2.36 inches, serie Lepidóptera / Lepidoptera series.

The butterfly wings used in this new Lepidoptera series come from butterflies raised in butterfly farms in Peru, Indonesia and Madagascar, dying naturally when released, they are collected by local communities.





Gabriel de la Mora @ El artista es el autor que desparece… / Visita guiada / Revisión de portafolios



Gabriel de la Mora @ Getty Publications – Living Matter: The Preservation of Biological Materials in Contemporary Art


Edited by Rachel Rivenc and Kendra Roth

This innovative volume is the first to address the conservation of contemporary art incorporating biological materials such as plants, foods, bodily fluids, or genetically engineered organisms. 

Eggshells, flowers, onion peels, sponge cake, dried bread, breast milk, bacteria, living organisms—these are just a few of the biological materials that contemporary artists are using to make art. But how can works made from such perishable ingredients be preserved? And what logistical, ethical, and conceptual dilemmas might be posed by doing so?

Because they are prone to rapid decay, even complete disappearance, biological materials used in art pose a range of unique conservation challenges. This groundbreaking book probes the issues associated with displaying, collecting, and preserving these unique works of art. The twenty-four papers from the conference present a range of case studies, prominently featuring artists’ perspectives, as well as conceptual discussions, thereby affording a comprehensive and richly detailed overview of current thinking and practices on this topic. Living Matter is the first publication to explore broadly the role of biological materials in the creative process and present a variety of possible approaches to their preservation.

Reflecting Getty’s commitment to open content, Living Matter: The Preservation of Biological Materials in Contemporary Art is available online at and may be downloaded free of charge in multiple formats. For readers who wish to have a bound reference copy, this paperback edition has been made available for sale.

Rachel Rivenc is head of conservation and preservation at the Getty Research Institute. Kendra Roth is the conservator responsible for sculpture and decorative arts in the department of modern and contemporary art at the Metropolitan Museum of Art.

“The world of conservation is finally considering the vitality of artworks that can act as quasi agents of their own. The proceedings of this important symposium on the conservation of biological materials in art illuminates, through a wide range of case studies, how traditional approaches both to art and to conservation fail to adequately address the new materiality of post-anthropocentrism.”
—Marina Pugliese, Professor, Art History and Visual Culture Department, California College of the Arts (CCA)

260 pages
8 1/2 x 11 inches
236 color and 6 b/w illustrations
3 tables
ISBN 978-1-60606-687-4

Gabriel de la Mora @ XIII Bienal de Mercosur


Curaduría Marcello Dantas
15.09.2022 – 20.11.2022

Participan 93 artistas de 20 paises:
Adrianna Eu, Antonio Tarsis, Bruno Borne, Carlos Nader, Cesar & Lois, Daniel Lie, Denise Milan, Dora Smék, Elias Maroso, Esfíncter, Estela Sokol, Fernando Sicco, Franco Callegari, Felippe Moraes, Gabriela Mureb, Gabriel de la Mora, Garret Bradley, Gustavo Prado, Guto Nóbrega, Héctor Zamora, Ivan Caceres, Janaina de Mello, Jaume Plensa, Juliana Góngora, Julios Von Bismarck, Karola Braga, Leandra E. Santo, Leandro Lima, Leonardo Drew, Letícia Monte, Ana Vitória e Carolya Aguiar, Lídia Lisbôa, Lucas de Sordi, Lucas Dupin, Luísa Mota, Luzia Simons, Lygia Clark, Marilá Dardot, Marina Abramovic, Martin Soto Climent, Mazenett Quiroga, Nati Canto, Nico Vascellari, Nídia Aranha, Panmela Castro, Pedro Carneiro, Pedro Reyes, Pierre Fonseca, Poema Mühlenberg, Rabih Mroué, Rafael Lozano-Hemmer, Raphael Escobar, Silêncio Coletivo (Jaime Lauriano e Igor Vidor), Tino Segal, Túlio Pinto, Vitor Mizael, Vivan Cacuri, Walid Raad ,Zé Bento

Artistas del acervo del MAGS: Antonio Henrique Amaral, Camila Sposati, Daniel Senise, David Manzur, Ênio Pínallí, Evgen Bavcar, Fayga Ostrower, Fernando Baríl, Francisco Stockinger, Gastão Hofstetter, Gisela Waetge, Iole de Freitas, Karin Lambrecht, Mara Weinreb, Milton Kurtz, Noélia de Paula, Tunga, Vera Chaves Barcellos, Yeddo Titze.

Trauma, sueño y fuga. si luchas para dormir después de una experiencia traumática, no estás solo.

Casi todos los sobrevivientes de un trauma padecen algún tipo de trastorno del sueño, como el insomnio. Sin embargo, para cerca de mitad de los tres cuartos de las personas, son los sueños vívidos los que dificultan el descanso profundo y abren las puertas de la consciencia a un camino que será inventado.
El trauma es el principal combustible para el arte de todos los tiempos y los sueños son un estratagema para la fuga.
La experiencia de un trauma colectivo como la pandemia de 2020 impulsa la creación artística hacia un nuevo territorio. Su impacto en el imaginario común, a través de la activación de lo onírico, de los sueños y delirios, abre puertas para escapar de una condición que se nos ha impuesto a todos nosotros.
La secuencia de estas tres palabras –trauma, sueño y fuga– forman la línea narrativa que estamos buscando en las obras de los artistas para esta Bienal.

Porto Alegre, Brasil.
Fundação Bienal de Artes Visuais do Mercosul
Rua Gen. Bento Martins, 24/1201 – Centro
CEP 90010-080 | Porto Alegre – RS
+55 51 3254-7507

Gabriel de la Mora @ El artista es el autor que desaparece… / Pinacoteca de la Universidad de Colima / 3 jun 2022 – enero 2023


El artista es el autor que desaparece..
Gabriel de la Mora
Viernes 03 de junio de 2022
Pinacoteca Universitaria | Vicente Guerrero 35, Centro, Colima, Mx

Gabriel de la Mora @ Interview : Yale University Radio by Brainard Carey


Gabriel de la Mora @ Booth G2 PERROTIN / Dallas Art Fair


Gabriel de la Mora @ Booth G2 PERROTIN / Dallas Art Fair
April 21 – 24, 2022
1807 Ross Avenue, Dallas, Texas 75201

Artists: Iván Argote, Thilo Heinzmann, Leslie Hewitt, Trevon Latin, Gabriel de la Mora, Paola Pivi, Gabriel Rico and Kathia St. Hilaire.
Artwork :
Gabriel de la Mora, 7,200 IV – M.D, 2022, Mosaico de alas de mariposa Morpho didius sobre cartulina de museo / Morpho didius butterfly wings mosaic on museum cardboard, 30 x 30 x 2 cm / 11.81 x 11.81 x .79 inches, Enmarcado 35 x 35 x 6 cm / Framed 13.78 x 13.78 x 2.36 inches, Serie Lepidóptera / Lepidoptera Series.
Photo credit: Guillaume Ziccarelli

The butterfly wings used in this new Lepidoptera series come from butterflies raised in butterfly farms in Peru, Indonesia and Madagascar, dying naturally when released, they are collected by local communities.

Gabriel de la Mora: Out of frame

Fabiola Iza















Out of Frame is a monographic study of Gabriel de la Mora’s recent production. Consisting of three essays and accompanying images, the publication analyses the working methods that lie behind the artist’s material output. Instead of aiming to offer another reading of his series of works, mainly made of debris and discarded materials and which seek to erase the boundaries between drawing, painting, and sculpture. Thus this book distinguishes itself as contributing to the study of his working methods or processes rather than to an object-oriented focus on his finished artworks. Therefore, Out of Frame focuses on the influences that nourish de la Mora’s work along with the methodologies he devises to manipulate countless raw materials. The essays tackle questions regarding topics such as animism and the role of the collector, finitude, commodification and the ontology of the art object through the lens of the artist’s production. Fuera de Cuadro / Out of Frame will be the first in a series of digital publications that the artist will produce in collaboration with young curators and writers about his work, with this initial title also giving name to the budding series. The Fuera de Cuadro publication series seeks to to unveil the physical and mental processes entwined in De la Mora’s creative process. Each invited curator/writer will determine the scope of each book ultimately offering their interpretations on the “out of frame” theme.

Download the book here: 

Gabriel de la Mora: Entropías




Gabriel de la Mora: Entropías

06.02.2018 – 10.03.2018

© El artista, los autores, los fotógrafos,


© The artist, the authors, the photographers,



Eliza Mizrahi Balas


Estudio Gabriel de la Mora


Ana Lizeth Mata


Javier Velázquez, Ramiro Chaves


Alfredo Gallegos


Elizabeth Calzado


Christopher Fraga


Esteban Gérman

Impreso en México en los talleres de Offset

Rebosán / Printed in Mexico at the workshop

of Offset Rebosán


It is available at PROYECTOSMONCLOVA gallery.




Brett Littman - Jace Clayton.

The Drawing Center

July 15 – September 2, 2016

Main Gallery

Gabriel de la Mora

Sound Inscriptions on Fabric

Curated by Brett Littman

Drawing Papers 127

Essays by Brett Littman and Jace Clayton

ISBN 978 – 0 – 942324 – 97 – 6

To place an international order

Please contact to Bookstore Manager, Kate Robinson at


Willy Kautz


ISBN: 978-607-95918-4-7

Edición bilingüe: Inglés / Español, 236 páginas a color

Diseño: Nicolás Pradilla

Traducción: Richard Moszka (cap 1-5) / Michael Parker Stainback (cap 6-7)

Edición: Museo Amparo (2015)


Francisco Reyes Palma

El libro, Gabriel de la Mora, Originalmentefalso / Originallyfake encara una problemática que desborda la escena del arte contemporáneo pues, no obstante la magnitud de falsificaciones que saturan el mercado de arte, la crítica, la institución, la galería y el coleccionismo suelen optar por el silencio.

En la búsqueda obsesiva de materia prima para su proyecto de incorporar una serie de obras falsas a la esfera de la creación legítima, Gabriel de la Mora se sumerge en el complejo submundo del mercado negro del arte y mantiene contacto con una amplia gama  de coleccionistas y con los archivos de algunas galerías, casas subastadoras y talleres de restauro que apoyan su propuesta.

Esta publicación  es asimismo un intento por acercar al lector al proceso creativo de cada obra, de manera que su comprensión y disfrute se mantengan abiertos, sobre todo por tratarse de una estética agresiva, liminal, donde conviven las síntesis formales y las revisiones postconceptuales, el refinamiento y la abyección.

El intenso y prolongado diálogo entre Gabriel de la Mora y Francisco Reyes Palma,  refiere a una exploración en los bordes de lo artístico, que muestra también otros modos de relación entre el artista y el crítico, las lógicas de exposición y la historia del arte. Exploración que aún se mantiene abierta.

Edición bilingüe, inglés y español.

112 páginas.

Co-editada por Conaculta y Literal Publishing.

Diseño de Nicolás Pradilla.

Traducción de Christopher Michael Fraga.

ISBN: 978-0-9897957-4-6 Literal Publishing

ISBN: 978-607-516-360-4 CONACULTA

Alegorías capilares

Sergio Rodríguez Blanco y Gabriel de la Mora

Alegorías Capilares recibió el Premio Bellas Artes de Literatura Luis Cardoza y Aragón para Crítica de Artes Plásticas 2009. Sergio Rodríguez Blanco construye una travesía por el universo estético que despliega el pelo humano utilizado como materia para el arte en el trabajo del artista mexicano Gabriel de la Mora. Un viso de perversión palpita detrás del esteticismo y la sorprendente destreza técnica de algunas de sus obras realizadas con fibras capilares de seres humanos.

A primera vista, el pelo aparece transfigurado como un dibujo delicado y aséptico; al aguzar la mirada, las líneas se descubren como cabellos de donantes vivos, incluso de cadáveres exhumados. A través de su prosa vibrante, Rodríguez Blanco conduce al lector desde el concepto de alegoría de Walter Benjamin a la categoría de lo Real de Jacques Lacan, de la abyección de Julia Kristeva al sex-appeal de lo inorgánico de Mario Perniola. El pelo se va revelando como una materia artística sublimada, como un receptáculo de deseos reprimidos, pero también como una catapulta a lugares siniestros de la memoria.

2011 | Primera Edición
160 páginas
16.5 x 22.5 cm
Encuadernación: Pasta dura
ISBN: 978-607-7663-25-6

Editorial TRILCE Ediciones (2012)


Willy Kautz, Miguel González Virgen, Gilbert Vicario, Robert C. Morgan, María Minera y Gabriel de la Mora

Interpretar el trabajo artístico de Gabriel de la Mora es como buscar la huella de un crimen con la sospecha de que éste nunca tuvo lugar. En sus obras, la precisión y la ejecución parecen maniobras conceptuales a la vez que formales.

Si todo parece estar en su sitio, ¿qué es lo perturbador y lo maravilloso de su trabajo?, ¿qué es lo que nos conduce a una experiencia de lo siniestro? Su trabajo guarda relación con el lado oscuro de la psique, su lado interno, al margen de las proposiciones cínicas e irónicas tan comunes al arte contemporáneo.

Este libro recorre la obra de Gabriel de la Mora, su trabajo explora la identidad personal y cultural a través de diferentes líneas de investigación que trazan el hilo conductor de su obra: la originalidad, lo paranormal, la identidad, la memoria, el retrato y el cuerpo, que forman parte del juego entre dicotomías (figuración-abstracción, barroco-minimalista, inocencia-crueldad, tradicional-experimental) representadas en sus obras. En ellas, la línea y el punto se vuelen elementos fundamentales que generan un dialogo entre dibujo y escultura, entre lo bidimensional y lo tridimensional.


Páginas 224

Medidas 21,5 x 28 cm

Encuadernación Tela con sobrecubierta francesa

2 Ediciones Español /Inglés


Castellano 978-84-7506-964-7

Inglés 978-84-7506-965-4

Editorial TURNER (2011)