Agustina Fuster
Fall 2025 Cycle – Art
Buenos Aires, Argentina agustinafuster.com
The metaphor, 2024. Oil on canvas, 80 x 70 cm.
Fifty-three spheres, 2025. Oil on canvas, 90 x 110 cm.
Background and figure, 2024. Oil on canvas, 90 x 70 cm.
Cauce and effect, 2025. Oil on canvas, 40 x 50 cm.
Serie The inner landscape 6, 2024. Oil on canvas, 70 x 140 cm.
The fragile illusion, 2025. Oil on canvas, 40 x 50 cm.
The inner landscape 1 (serie), 2024. Oil on canvas, 140 x 70cm.
The inner landscape 2 (serie), 2024. Oil on canvas, 140 x 70cm.
The inner landscape 5 (serie), 2024. Oil on canvas, 140 x 70cm.
The principles of matter, 2025. Oil on canvas, 90 x 70 cm.
The inner experience, 2025. Oil on canvas, 40 x 90 cm.
The inner landscape, Espacio Festival, Buenos Aires, Argentina, photo credit Registro Exacto
The inner landscape, Espacio Festival, Buenos Aires, Argentina, photo credit Registro Exacto
Artist Statement Biography
Agustina Fuster explores the illusion of the image through painting, using multiplication, fragmentation, and distortion as visual tools. The fragmentation of the image allows her to investigate the illusion of painting itself, as the image unfolds and reflects, evoking the gesture of breaking a mirror and painting’s attempt to reconstruct what has been broken. Distortion functions as a displacement of reality, a gesture that transforms and opens up a space of estrangement. Within the image, distortion becomes a language of the invisible, another way of generating versions of itself and of creating objects that exist solely through painting. Water runs through her paintings as a principle of matter and imagination. In its liquid and mutable capacity, it forms mirrors and reflective surfaces where the image multiplies and unfolds. Water allows her to conceive of painting as a transformative act, in which images emerge and dissolve. What is the limit of painting? Her work seeks the ambiguity of the image, what it reveals and what it conceals.
Agustina Fuster explores the illusion of the image through painting, using multiplication, fragmentation, and distortion as visual tools. The fragmentation of the image allows her to investigate the illusion of painting itself, as the image unfolds and reflects, evoking the gesture of breaking a mirror and painting’s attempt to reconstruct what has been broken. Distortion functions as a displacement of reality, a gesture that transforms and opens up a space of estrangement. Within the image, distortion becomes a language of the invisible, another way of generating versions of itself and of creating objects that exist solely through painting. Water runs through her paintings as a principle of matter and imagination. In its liquid and mutable capacity, it forms mirrors and reflective surfaces where the image multiplies and unfolds. Water allows her to conceive of painting as a transformative act, in which images emerge and dissolve. What is the limit of painting? Her work seeks the ambiguity of the image, what it reveals and what it conceals.
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