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Zona Maco

with Gabriela Vainsencher

EJES Booth EJ31

February 4 – 8, 2026

Sculpture by Gabriela Vainsencher

Gabriela Vainsencher

Taking the Plunge (Woman at a Pool), 2, 2025

Porcelain with glaze

14.50h x 10w x 1d in
36.83h x 25.40w x 2.54d cm

GV054

Sculpture by Gabriela Vainsencher

Gabriela Vainsencher

Looking Back (ideal highlights), 2025

Porcelain and glaze mounted on baltic birch panel

14.50h x 12w in
36.83h x 30.48w x 1.91d cm

GV058

Sculpture by Gabriela Vainsencher

Gabriela Vainsencher

Woman in a Bottle, Self-Portrait 2, 2024

Porcelain with glaze and underglaze mounted on wood with brass hardware

19h x 10.25w x 1d in
48.26h x 26.04w x 2.54d cm

GV052

Sculpture by Gabriela Vainsencher

Gabriela Vainsencher

Eyes in the Back of My Head (Mother Earth), 2024

Glazed porcelain

20h x 13w in
50.80h x 33.02w cm

GV050

Sculpture by Gabriela Vainsencher

Gabriela Vainsencher

The Cathedral (After Marta Morazzoni), 2023

Porcelain with glaze, underglaze, and acrylic

21h x 9.50w in
53.34h x 24.13w cm

GV041

Sculpture by Gabriela Vainsencher

Gabriela Vainsencher

Basis, 2025

Porcelain with glaze and underglaze mounted on baltic birch panel

13.50h x 12w in
34.29h x 30.48w x 1.91d cm

GV061

Sculpture by Gabriela Vainsencher

Gabriela Vainsencher

Seascape, 2025

Porcelain and underglaze mounted on baltic birch panel

17.50h x 11w in
44.45h x 27.94w x 1.91d cm

GV056

Sculpture by Gabriela Vainsencher

Gabriela Vainsencher

Black Ultrasound Vase, 2025

Porcelain with glaze and underglaze mounted on baltic birch panel

16.50h x 15.50w in
41.91h x 39.37w x 1.91d cm

GV067

Press Release

Asya Geisberg Gallery in collaboration with Daniela Elbahara Gallery, presenting work by Gabriela Vainsencher and Tahanny Lee Betancourt.

Gabriela Vainsencher’s painted, carved, and glazed ceramic wall reliefs combine archaeological and anatomical motifs that have appeared throughout her interdisciplinary practice. Vase-shaped sculptures are inspired by Greco-Roman amphora, and use the vessel as both form and symbol, enveloping a conversation around the female body. She carves, paints, and squeezes the clay as if it were flesh, imprinting it with finger marks or wiping away glaze from the clay’s unvarnished surface. The works employ motifs such as ultrasound imagery and swollen bellies along with wavy seascapes, cluttered interiors, or accoutrements of mothering. Portraits centered in medallions echo a more modernist style and with their concurrent evocation of ancient Egyptian Fayum portraits suggest deities or female archetypes.