Incluso un lugar como este puede durar para siempre. O desaparecer en los próximos minutos
Incluso un lugar como este puede durar para siempre. O desaparecer en los próximos minutos
Solo show by
28 February - 1 April 2026
We are thrilled to present the first solo exhibition in Madrid and at El Chico of Estefanía B. Flores (Santa Cruz de Tenerife, 1989). Following her participation in "Dark Forest" at the gallery in November 2024, Estefanía now presents a new body of work that continues the research she has developed in recent years.
A graduate of the MFA program at Goldsmiths, University of London, Estefanía’s visual universe recalls the early days of the digital: those first environments generated by home consoles where, through rudimentary graphics and almost schematic structures, entertainment settings were not only constructed but also opened onto affective territories that were, at the time, still unnamed. Her work can be understood as a system in constant displacement: a network of forms that, although appearing before us as static bodies, retain the potential for transformation. Each piece seems to hold the possibility of reconfiguring itself, connecting with others, and reappearing in a new guise each time they are summoned. Much like in the logic of video games, where the player collects 'items' that enable them to persist and move across different levels, Estefanía’s sculptures expand —both literally and metaphorically— as her practice evolves. They grow, shift, incorporate variations and echoes of earlier works, activating a continuity that is not linear but mutable.
The scenarios she proposes are never entirely the same, nor are the works themselves; yet their genealogies can be traced. Recognizable traces remain in certain morphologies, in recurring details, or in bodily references that reappear as fragments of an anatomy in constant rearticulation. Thus, each work operates simultaneously as an autonomous entity and as part of a larger ecosystem always unstable, in a state of constant becoming.
A graduate of the MFA program at Goldsmiths, University of London, Estefanía’s visual universe recalls the early days of the digital: those first environments generated by home consoles where, through rudimentary graphics and almost schematic structures, entertainment settings were not only constructed but also opened onto affective territories that were, at the time, still unnamed. Her work can be understood as a system in constant displacement: a network of forms that, although appearing before us as static bodies, retain the potential for transformation. Each piece seems to hold the possibility of reconfiguring itself, connecting with others, and reappearing in a new guise each time they are summoned. Much like in the logic of video games, where the player collects 'items' that enable them to persist and move across different levels, Estefanía’s sculptures expand —both literally and metaphorically— as her practice evolves. They grow, shift, incorporate variations and echoes of earlier works, activating a continuity that is not linear but mutable.
The scenarios she proposes are never entirely the same, nor are the works themselves; yet their genealogies can be traced. Recognizable traces remain in certain morphologies, in recurring details, or in bodily references that reappear as fragments of an anatomy in constant rearticulation. Thus, each work operates simultaneously as an autonomous entity and as part of a larger ecosystem always unstable, in a state of constant becoming.
