2026
El corazón es agua
Solo show
Richeldis Fine Art
Richeldis Fine Art
May 7 – July 30, 2026
Barcelona
Barcelona
(...) At the core of Rogado’s practice is a process guided as much by material behaviour as by the artist’s hand. Working directly with the physical properties of paint, Rogado allows pigment to disperse, settle, and accumulate across raw canvas, creating compositions that emerge through a careful choreography of chance, rhythm, and restraint. The resulting forms hover between presence and dissolution - suggestive of atmosphere, landscape, shadow, or bodily trace, yet never fully fixed. His paintings unfold as perceptual fields, inviting a slow and shifting encounter in which image and abstraction continuously destabilise one another. Throughout the work there is a sense of continual movement - a fluid, almost tidal rhythm in which forms appear to drift, dissolve, and reform. This quality of flow reflects the artist’s process itself, where pigment, gravity, absorption, and time remain active participants in the formation of the image.
This new body of work marks a further distillation within the artist’s practice. More monochromatic and pared back in palette, the paintings reduce gesture and colour to their essential elements, pushing the abstraction towards an intensified sense of stillness and spatial ambiguity. Deep blacks, muted indigo tones, and saturated crimson emerge against luminous grounds, allowing the subtle movement of pigment and the tension between control and chance to become increasingly pronounced.
This new body of work marks a further distillation within the artist’s practice. More monochromatic and pared back in palette, the paintings reduce gesture and colour to their essential elements, pushing the abstraction towards an intensified sense of stillness and spatial ambiguity. Deep blacks, muted indigo tones, and saturated crimson emerge against luminous grounds, allowing the subtle movement of pigment and the tension between control and chance to become increasingly pronounced.
The works possess a meditative clarity in which scale, silence, and material presence operate with quiet intensity. The exhibition also includes a monumental suspended painting positioned directly before the gallery window. Positioned in dialogue with the light behind it, the work reveals the translucency and internal structure of the painting itself. Hovering between image and object, surface and space, the work transforms the surrounding architecture into part of the composition. Here, Rogado extends painting beyond the wall and into an immersive spatial encounter in which light, atmosphere, and material presence become inseparable.
The exhibition includes four sculptural works from Rogado’s ongoing Observing Self and Time Capsule series. Composed of mirrored spheres and hourglass forms, the sculptures extend the artist’s investigation of perception, reflection, and consciousness into three dimensions. Their mirrored surfaces absorb the surrounding space while simultaneously implicating the viewer within the work itself, creating a tension between immersion and self-awareness. Echoing the conceptual sensibility of John Cage’s 4’33”, these works foreground attention and presence, heightening an awareness of space, duration, and the act of observation itself. Across Rogado’s practice, painting, sculpture, rhythm, and reflection operate as part of an evolving visual language - one that unfolds less as a fixed image than as a continuous state of movement, perception, and poetic resonance.
Photography by Francisco Nogueira
The exhibition includes four sculptural works from Rogado’s ongoing Observing Self and Time Capsule series. Composed of mirrored spheres and hourglass forms, the sculptures extend the artist’s investigation of perception, reflection, and consciousness into three dimensions. Their mirrored surfaces absorb the surrounding space while simultaneously implicating the viewer within the work itself, creating a tension between immersion and self-awareness. Echoing the conceptual sensibility of John Cage’s 4’33”, these works foreground attention and presence, heightening an awareness of space, duration, and the act of observation itself. Across Rogado’s practice, painting, sculpture, rhythm, and reflection operate as part of an evolving visual language - one that unfolds less as a fixed image than as a continuous state of movement, perception, and poetic resonance.
Photography by Francisco Nogueira
2026
Fields Unbound
group show
Bernhard Knaus Fine Art
Bernhard Knaus Fine Art
December 4 – March 7, 2026
Frankfurt am Main
Frankfurt am Main
Traditionally, painting has been understood as the art of the surface: pigment on canvas, bound to gesture, composition and pictorial space. Yet contemporary painterly practice has moved far beyond this definition. It breaks open the classical notion of the panel painting and seeks expansion through movement, temporality, process and perception. The term “expanded painting” – repeatedly invoked since the 1960s – points to this act of opening: painting is no longer defined solely by technique, but by attitude and by thinking. (...)
In the practice of Giacomo Santiago Rogado, technique and intuition merge into a poetic enquiry of pictorial space. His works often arise from processes that give equal weight to chance and control: colour gradients, reflections and iridescent surfaces extend the image into the surrounding space. Rogado understands painting as a field of experience – a sensorial realm in which light and perception become inseparably intertwined.