Structures in Suspension

Between memory and projection, matter and light, this series unfolds as a field of uncertainty. What emerges is not a fixed image of the future or a residue of the past, but a space of temporal suspension in which form becomes hypothesis, and imagination acts as a critical tool.

A conversation with Esteban Amaro

Visual artist and photographer blurring the limits of mediums like photography, sculpture, video, installation and AI; somewhere in between minimalism, the universal questions and the environment. Redefining concepts like time, space, and immensity, conveying a profound connection and interrelation with the universe and with the environment. Rooted in experimentation, contemplation, and ancestral wisdom, Amaro crafts a reality that reinterprets our understanding of the world; a blend of natural and supernatural elements, shifts perception and invites exploration of the unknown. Represented by Mahara + Co in Miami and ArtStar in New York, Amaro’s work have been exhibited in New York, Miami, London, Santiago de Chile, Concepción, Valparaíso and in the Metaverse, with important galleries and curators such as: Obscura, Artcrush Gallery, Monolith Gallery, Factoría Santa Rosa, Mahara + Co and more. A selection of important recognitions include; second place in the International Photography Awards, finalist and exhibition in the young art competition at the MAVI Visual Arts Museum in Santiago de Chile, and honorable mentions in prestigious competitions such as the Minimalist Photography Awards, The Independent Photographer, Monochrome Awards and Fine Art Photography Awards.

The Diary of a Neurotic – Anatomy of a Fragmented Self

In contemporary art, some artists build worlds, while others fracture them to reveal their internal anatomy. The creator of The Diary of a Neurotic belongs to this latter, rarer lineage. Her voice emerges from a dense cultural geography, shaped by Eastern Europe and its wounded inheritances: territories marked by history, cycles of unstable power, and a collective memory that never ceases to sediment within the body and the psyche. Yet the extraordinary value of her work lies not only in the gravity of these roots, but in her ability to transform history into intimate micro-narratives. Her artworks do not depict war; they breathe its echo. They do not illustrate trauma; they reveal its most granular folds, the ones that infiltrate daily life, minor gestures, fleeting thoughts. What the artist constructs is a counter-diary of the contemporary condition: a cartography of mental fissures formed where personal experience meets the weight of historical memory.