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 @ Art Basel Miami Beach 2021 / PERROTIN Booth F22


Takashi Murakami, Daniel Arsham, Maurizio Cattelan, Cristina BanBan, Kathia St. Hilaire, Tavares Strachan, Jason Boyd Kinsella, Iván Argote, Mathilde Denize, Jens Fänge, Bernard Frize, Thilo Heinzmann, John Henderson, Leslie Hewitt, JR, Izumi Kato, Gabriel de la Mora, Danielle Orchard, Jean Michel Othoniel, GaHee Park, Paola Pivi, Gabriel Rico, Josh Sperling, Hans Hartung, Georges Mathieu, Jesús Rafael Soto.

11.30 – 12.4.2021
 Miami Beach Convention Center

Gabriel de la Mora @ “Snow falls behind the mountains” / “Schnee fällt hinterm Berge”

Curated by Gregor Hildebrandt

Johannes Albers, Olivia Berckemeyer, Matthias Bitzer, Lynda Benglis, John Bock, Björn Dahlem, Amélie Esterházy, Andi Fischer, Bernard Frize, Gabriel de la Mora, Axel Geis, Raimund Girke, Gregor Hildebrandt, Leiko Ikemura, Caro Jost, Manuel Kirsch, Jürgen Krause, Alicja Kwade, Florian Meisenberg, Isa Melsheimer, Olaf Metzel, Gerold Miller, Manfred Pernice, Gerd Rohling, Anselm Reyle, Robert Ryman, Michael Sailstorfer, Karin Sander, Erik Schmidt, Chris Succo, Milen Till, John Torreano, Jorinde Voigt, Wiebke Maria Wachmann, Tomas Zipp.

Opening 11.25.2021 / 5 PM

Avlskarl Gallery
Bredgade 28 1260 Copenhagen K, Phone: +45 24 67 97 24,

Gregor Hildebrandt on “Schnee fällt hinterm Berge” “Morten asked if I would be interested in creating a show in his gallery. I was really looking forward to doing this kind of group show with works that are interesting for me. The idea comes from a private collection in my home that I am running together with my partner. There is this one room, where we also sleep, where we have mostly white works. It started by accident with some paper pieces by Jürgen Krause and Jorinde Voigt. Then, we found out the pieces were mostly white, and I started to collect more white works, like ones by Gabriel de la Mora and a paper piece by Robert Berry. This was the starting point of the show, to create a group show with all white pieces.”


Gabriel de la Mora / Proyectos Monclova : I draw, therefore I think @ South South


SOUTH SOUTH’s inaugural Curatorial Projects titled I draw, therefore I think is curated by artist and curator Jitish Kallat. This drawing project is prompted by Charles Darwin’s 1837 sketch ‘Tree of Life’ in which he scribbled down a framework for his speculations in his first “transmutation notebook”.

60 Artists
28 Galleries
29 Countries

One exhibition. Two ways to view.
I draw, therefore I think can be viewed as an artwork-led viewing room and an interactive Miro board produced in collaboration with the Open Window Institute, allowing for multiple forms of engagement throughout the project’s duration. On the Miro board your name and cursor will be visible on screen and you will be able to communicate and collaborate with others on the board.



Perrotin is pleased to present The Blues, an online exhibition bringing together 10 works, both new and historic, that pay homage to blue as an enduring symbol of the sublime.

Blue has a storied history — Vermeer sunk his family into debt as a result of his obsession with the prized pigment, and Michelangelo left his paintings unfinished when he couldn’t gather enough funds to acquire his desired blue. Yves Klein, however, released a thousand and one helium-filled blue balloons into the sky above Paris.

Today, we are pleased to present works by Gabriel De La Mora, Hans Hartung, John Henderson, Yves Klein, Julio Le Parc, Georges Mathieu, Shin Murata, Gregor Hildebrandt, Jean-Michel Othoniel and Xavier Veilhan that meditate on the eternal lure of blue.

Gabriel de la Mora : Lepidoptera @ Perrotin New York



The Lepidoptera Demon

 Butterflies are known for their delicacy and discreet charm, qualities enhanced through a capacity to keep unnoticed: It is astounding how little an ordinary person notices butterflies.[1]

Despite their colorful wings, which fast and concise movements perhaps would only allow us to get a glimpse on the elaborate patterns, designs, and chromatic combinations that some species display. Like other organisms, butterflies are prone to mimicry. They can resemble a flower, a tree or look like fallen leaves in the northern autumn or in the tropical rain forest. Their unassumed beauty and familiarity can transform a solitary spot in a forest into a site for spiritual introspection and delight. It is not accidental that the angel of death was represented by the Gnostics as a winged foot stepping on a butterfly. Psyche, the Greek goddess represented through butterfly wings, prompted psychoanalysis’ interpretation of lepidoptera as symbols of resurgence.[2] Butterflies also dwell on Mesoamerican iconography, in particular the Mexica of Tenochtitlan, which considered them as the fleeting souls of deceased warriors.

Beyond the realms of natural sciences and entomology, lengthy literature on lepidoptera proves their aesthetic allure and symbolic potency as the paradoxical insects with wings that they are. From opera to social sculpture, butterflies inspired metaphoric interpretations that transcend the binary model of gender and sexuality as well as the polarities of life and death.[3] Martin Johnson Heade represented a Blue Morpho type in perhaps one of the most arresting paintings ever made of a living butterfly in which two of its wings, expose a singular iridescence while the other ones, slightly bent towards the left, were depicted in black as if they belong to the afterlife. The background shows a fantastic landscape that leads us to the equinoctial regions so keen to the nineteenth century art travelers influenced by Alexander von Humboldt.[4] But as Vladimir Nabokov observed, butterflies are largely unnoticed by people.  Nabokov, who suffered a severe pneumonia at a very young age, lost his “monstrous gift of numbers that had made me a child prodigy during a few months (today I cannot multiply 13 by 17 without a pencil and paper; I can add them up, though, in a trice, the teeth of the three fitting in neatly); but the butterflies survived (…)” According to the writer, a year later he “gained absolute control over the European lepidoptera as known to Hoffmann.”[5]

Intriguingly, artist Gabriel de la Mora showed an unusual disposition to play with language at a very young age. Comparable to Nabokov’s gift of numbers and his skills to solve complicated mathematical operations, which the Russian American writer characterized rather as “a demon”, de la Mora can read straightforwardly a sentence backwards and disorganize a word to compose an instant riddle. Dyslexia prompted him to perceive words as images, fragments in magnified dimensions: “cuando no entiendes la información que tienes enfrente o que escuchas, inmediatamente se convierten en imágenes, en fragmentos, en ruido, en sonidos y en un sinfín de cosas que no tienen nada que ver con la realidad de los contenidos o las cosas (…) Veo las letras y los números de una forma diferente, me fascinan ambos y siempre he visto a las letras, los números, las palabras y las matemáticas de una forma diferente.” [6]

De la Mora’s early works after graduating from the Pratt Institute were under the spell of language as a problem to be solved through visual forms and transitional objects. More recently, he dedicated his artistic investigation to renovate the language of modernist abstraction using bodily elements such as human hair for his Capilares non-representational drawings, and egg shelves, feathers, and butterfly wings to compose geometric, monochromatic, or hard-edge paintings.[7]


Gabriel de la Mora’s new Lepidoptera series composed of thirty-three works made of eight different species of butterflies, seem to complete a cycle of difference in which the artist merged modernist lessons by Joseph Albers with his own propensity to isolate fragments as compositional elements for transforming images into a scribbled discourse. If the Mexica mythologies added a cultural layer to De la Mora’s formal endeavor of bringing the opalescence of butterflies to abstract painting, their unnoticed beauty appealed as a language in which color always hides the nature of the element that you see. Mimicry is their “demon” or to put it in words by Roger Caillois: “it is not the presence of the elements what is perplexing and decisive, it is their mutual organization, their reciprocal topography.”[8]

Gabriela Rangel
Independent writer and curator based in Brooklyn


[1] Vladimir Nabokov, Speak, Memory. An Autobiography Revisited. Vintage International, New York, 1989.

[2] J.E Cirlot, Diccionario de símbolos. Editorial Siruela, Madrid, 2011. p. 306-307

[3] It’s been stated that the Parangoles (wearable paintings) by Brazilian artist Hélio Oiticica were influenced by his collaboration as a research assistant to his father’s work as a distinguished entomologist. The young Oiticica classified specimens and performed other tasks.

[4] Blue Morpho Butterfly (1863-64), Christal Bridges Museum Collection.

[5] Op. Cit. 123

[6] Interview with the author. August 2021.

[7] De la Mora began using human hair in figurative drawings made in 2005. The works created a narrative with children. See: Sergio Rodríguez Blanco, Alegorías Capilares. Trilce Ediciones Universidad Autónoma de Nuevo León, Instituto de Bellas Artes, Monterrey, México. 2011.

[8] Caillois, Roger, and John Shepley. “Mimicry and Legendary Psychasthenia.” October 31 (1984): 17–32.




Gabriel de la Mora @ Break the Mold / North Carolina Museum of Art


Artists: Sanford Biggers, Elizabeth Brim, Maria Britton, Julie Cockburn, Rodney McMillan, Rachel Meginnes, Katy Mixon, Gabriel de la Mora, Yasumasa Morimura, Thomas Schmidt, Shinique Smith, and Do Ho Suh, among others.

25 Septiembre 2021 – 6 Febrero 2022

North Carolina Museum of Art

East Building, Level B, Joyce W. Pope Gallery.
2110 Blue Ridge Road, Raleigh, NC 27607


Gabriel de la Mora @ Colección JUMEX: Temperatura Ambiente



Curada por la artista Sofía Táboas, Temperatura ambiente presenta 35 obras de la Colección Jumex para crear un viaje desde el sofocante calor del desierto hasta los espacios impersonales y con aire acondicionado de la vida contemporánea. Al ocupar el tercer piso del museo con videos, fotografías, instalaciones y esculturas de los siguientes artistas: Bas Jan Ader, Francis Alÿs, Kueng Caputo, Gregory Crewdson, Tacita Dean, Gabriel de la Mora, Ale de la Puente, Thomas Demand, Mark Dion, Olafur Eliasson, Elger Esser, Cyprien Gaillard, Andreas Gursky, Anthony Hernandez, Juan Fernando Herrán, Jim Hodges, Candida Höfer, Ann Veronica Janssens, Gabriel Kuri, Alicja Kwade, Luisa Lambri, Louise Lawler, Esko Männikkö, John McCracken, Richard Misrach, Thiago Rocha Pitta, George Stoll, Do Ho Suh, Salla Tykkä y Franz West, la exposición considera el calor poéticamente: cómo viaja a través del cuerpo, afectando experiencias y emociones, en el contexto del cambio climático global. Las diferencias de temperatura que representan las obras generan espacios de transición, estados intermedios y momentos de discrepancia.

Esta muestra crea un diálogo dentro del museo con Sofía Táboas: Gama térmica. Estas exposiciones complementarias exploran las relaciones entre las fuerzas humanas y naturales a través del trabajo de una artista individual y su perspectiva sobre el trabajo de sus contemporáneos.

Exposiciones organizadas por Kit Hammonds, curador en jefe y Adriana Kuri Alamillo y Cindy Peña, asistentes curatoriales, Museo Jumex.

Gabriel de la Mora @ The Armory Show / Proyectos Monclova / 09.09.2021 – 12.09.2021


The Armory Show
09.09.2021 – 12.09.2021
Booth 340
Javits Center
429 11th Avenue, New York, NY 10001

Gabriel de la Mora, James Benjamin Franklin, Yoshua Okón, Ángela Gurría, Ištvan Išt Huzjan, Edgar Orlaineta, Martín Soto Climent, Eduardo Terrazas.

Gabriel de la Mora @ The Armory Show 2021 / PROYECTOS MONCLOVA / Booth 340 / 09.09.2021 – 12.09.2021


09.09.2021 – 12.09.2021
Booth 340
Javits Center
429 11th Avenue, New York, NY 10001

Gabriel de la Mora, James Benjamin Franklin, Yoshua Okón, Ángela Gurría, Ištvan Išt Huzjan, Edgar Orlaineta, Martín Soto Climent, Eduardo Terrazas

Gabriel de la Mora @ IntersectArtAndDesign / PERROTIN / August 1-5, 2021.


I am pleased to share my participation at PERROTIN in @IntersectArtAndDesign with a Curated selection of works from the gallery´s roster including sculptures by Gabriel Rico, Jean Michel Otoniel, and Johan Creten as well as a historic painting by Hans Hartung, and a Selection of works by Sophie Calle, Gabriel de la Mora, Bernard Frize, Thilo Heinzmann, Farhad Moshiri and Paola Pivi.

August 1-5, 2021.

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)