Cuadra Gallery

28/06/2026

https://cuadragallery.com

30/11/2025

Jose Benito, Guacamayas, oil painting printed in Fine Art Giclée on Hahnemühle cotton paper, 100× 70 cm, Limited Edition 1/1, CuadraGallery.com

30/11/2025

Guacamayas, they sense one another with a delicacy that is almost impossible to grasp. The blue-yellow one carries a steady strength, a contained temperament,
the one who gathers things together when everything becomes quick and chaotic around the red one. The red one’s moods, the restlessness in its body — every shift is caught. Feelings don’t topple anything here, they are held, shared, adjusted together. The small movements between them. Conflicts dissolving in feathers being smoothed down.

“I’m here. I choose us.”

Beak-to-beak touches of red and blue feathers,
the sensing and the dreaming, they rise into the air as one. A we-identity has taken shape between them. The blue-yellow stands with its protective calm, its sense of safety and loyalty. It adjusts the rhythm when it needs adjusting. The blue love is so unwavering, and the red one’s so intense. Their loyalty is rare and unbreakable.

02/10/2025

Jose Benito, reproduction of Virginia Johnson the first African American ballerina in Giselle and Swan Lake, 140 x 90 cm, oil painting in Fine Art Giclèe on cotton paper.

In the painting, her right hand is deliberately painted smaller to symbolize the body ideals that dominated ballet – ideals that ruthlessly selected the “perfect” and excluded the “imperfect” ballet body. The arm appears shorter and thus becomes a challenge to the ballet world’s strict discipline regarding body and form – a tribute to diversity, talent, and the imperfect body 🩰🩰

02/10/2025

👩🏾‍🦱🩰Virginia Johnson (1970-2023) was the first African American ballerina in the United States to be awarded the leading roles in the most prestigious classical ballets: Giselle and Swan Lake. With her head held high, she stepped forward in the Dance Theatre of Harlem, where her dancing became a symbol of breaking racism, beauty standards, and body ideals in the ballet world – and from there she became a role model who opened the doors of ballet to future generations

31/08/2025

Luis Campo, Dave East, oil painting printed in Fine Art Giclée on Hahnemühle cotton paper, 94.5 × 120 cm, Limited Edition 1/1, CuadraGallery.com

31/08/2025

Luis Campo, Dave East, oil painting printed in Fine Art Giclée on Hahnemühle cotton paper, 94.5 × 120 cm, Limited Edition 1/1, CuadraGallery.com

18/08/2025

Ruben Cuadra - Sketch The Cathedral of Leon in Nicaragua, Ink on cardboard, 30 x 18,6 cm.

07/08/2025

07/08/2025

Sara Xue, I, 2025, Oil on canvas, 100 x 80 cm
Cuadra Gallery, Interview 2025 – Singapore

I paint transformation, healing, and strength,
no sorrow, no pity.

First, I apply gesso to the canvas
and rub Prussian blue and ivory black in with my hands. Rub, rub, living sensations; the oil paints seep into me. The palette knife shapes impasto: isolation and trauma.

I pour turpentine, my inner sea of feeling stirs;
I release anxiety and chaos, the unpredictable.
Stop the struggle.
Find peace.
Make room for imperfection.

I pour turpentine like tears across the canvas.
I close my eyes, inhale turpentine, feel the viscosity rise. Capillary forces wash the pain away, healing demands discipline. I am not afraid; all is welcome. No one loved the little girl, I love her now. The white sea foam of Chinese titanium white holds firm, my light, my shield.

I pour turpentine once more, the materials’ own will drives the chemical processes for over 28 hours. When all has evaporated, I truly embrace everything: all the dark, blue, and pale currents in my sea of feeling, as deep as the Mariana Trench.