View of the exhibition "The Propagation of Teurári" at Perrotin Tokyo. Photo by Keizo Kioku. Courtesy of the artist and Perrotin.
The Propagation of Teurári
solo show
May 12 - June 24, 2023
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Piramide Building, 1F, 6-6-9 Roppongi, Minato-ku

The most recent body of work by Gabriel Rico, an artist from Guadalajara, Mexico, coalesces non-western knowledge of first nation, or indigenous, people with the intention to build a stronger connection with nature. Realized through his own methods of found object collection and organization, fabrication of new objects, and his extensive collaboration with the local Wixárika tribe, Rico has built an alternative perception of how physics, geometry, logic, and spirituality balance our existence with our potential.


View of the exhibition "The Propagation of Teurári" at Perrotin Tokyo. Photo by Keizo Kioku. Courtesy of the artist and Perrotin.

The Propagation of Teurári is dedicated to the native group with whom Rico has worked over the last decade. He has collaborated with them by utilizing their traditional artisanal techniques of nierika, or yarn paintings that can be seen in The second cause is meant to be an explanation of the first (Páramo, The oak tree), as well as through the use of chaquiras, or glass beads. The techniques lend themselves to a process of folkloric imagination, allowing the Wixárika artisans to construct new universal compositions that employ deer and other natural elements as sacred.

本展「The Propagation of Teurári」(テウラリの伝播)は、リコが過去10年にわたりコラボレーションを行なってきた先住民のグループに捧げるものです。《The second cause is meant to be an explanation of the first (Páramo, The oak tree)》に見られるように、作品には先住民の伝統的な職人技であるニエリカ(毛糸絵)の技法や、チャキラ(ガラスビーズ)が活用されています。こうした技法を用いることで民俗学的な創造プロセスを促進するとともに、鹿や自然要素を神聖なものとして扱う普遍的で新しい構図をウィシャリカの職人たちの手で作り出すことを可能にしています。

Upon further inspection, the perception of nature through native beliefs involves rhythm, balance, and harmony that can only be found in the subtlety of natural movements and geometric forms. In VII from the series -The taste of superlative and the admirable holiness-, the breeze caused by the passing of a human causes the suspended gold leaf to flutter for just a moment; a tactile connection of invisible atoms between the human and the artwork. It is juxtaposed with light, a symbol of the ethereal and metaphor for the light at the end of the tunnel, a heaven-like space in limbo.

さらに深く掘り下げると、先住民の信仰を通した自然の認識には、自然の動きや幾何学的な形がもつ繊細さのみに備わっているリズム・バランス・調和が関わっています。《VII from the series - The taste of superlative and the admirable holiness》 では、鑑賞者の通過によって生じる風が、吊り下げられた金箔をほんの一瞬はためかせ、人間と作品の間にある目に見えない原子の触覚的な繋がりを感じさせます。さらに、天空を象徴し、希望の光の比喩であるライトを並列することで、不安定な状態の天空のような空間を創出しています。

I am showing how contemporary society is searching for how to reconnect with nature and how to save ourselves from our own actions.


— Gabriel Rico

Parallel to this process is Rico’s conversion of the intangible into tangible. In his Metawoman series, clouds embody the ever-evolving, omnipresent feminine identity through the physicality of an ethereal form: vapor. The ubiquity of nebulous forms consistently ties our existence to a more spiritual connection with nature’s elements and the direct effect that humanity has on them: the clouds as a gate to the heavens.


The name Teurári refers to a deer manifested in the identity of God. Their nature-based religion inspires Rico and countless others to rethink our relationship with the Earth from a conservation and evolutionary perspective. This perspective reflects the belief systems of the artisans and what Rico sees as the path toward humanity’s salvation.


Gabriel RICO

Born in 1980 in Lagos de Moreno, Mexico
Lives and works in Guadalajara, Mexico

Gabriel Rico’s work is characterized by the interrelation of seemingly disparate objects. A self-proclaimed “ontologist with a heuristic methodology,” Rico pairs found, collected, and manufactured materials to create sculptures that invite viewers to reflect on the relationship between humans and our natural environment. He frequently uses neon, taxidermy, ceramics, branches, and more personal pieces of his past to create an equation or formulation, achieving a precise geometry despite the organic, roughly hewn character of his materials. His installations ironically and poetically combine natural and unnatural forms, insisting on a necessary contemplation of their asymmetry as well as our own cultural and political flaws.


More about the artist
List of artworks