Cuerpo escueto en fondo negro
Enrique Pichardo
Painting - 120 x 80 x 1 cm Painting - 47.2 x 31.5 x 0.4 inch
$1,996
Salimos de noche,
2024
Zeta Yeyati
Painting : collage
95 x 68 x 1 cm 37.4 x 26.8 x 0.4 inch
$626
One of the last works available by this artist
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Dimensions cm • inch
95 x 68 x 1 cm 37.4 x 26.8 x 0.4 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: Mexico
Salimos de noche obra de Zeta Yeyati a work that explores the hidden magic of the everyday
Among stains, transparencies, and fragments of the past, emerges as a piece that combines playfulness and nostalgia in a poetic and visually vibrant balance. In this work, a cat becomes the silent protagonist of an implicit narrative, a presence that guides us through an atmosphere where night is no longer just a setting but a full sensory experience. The title is not merely a literal reference but a symbolic starting point that speaks of a desire to explore what is hidden, to move along the edges, and to discover new ways of seeing and feeling in the shadows.
Created with mixed media—acrylic, stencil, and collage on paper—and measuring 68x95 cm, the piece powerfully embodies Zeta Yeyati’s artistic philosophy. His commitment to recycling as a vital gesture is expressed through his use of unconventional materials, found objects, and discarded elements that gain new meaning in the artwork. Gesture takes precedence over representation, and the composition weaves ornaments, paint stains, and drawn forms into a unique visual narrative. The central figure, defined by a few lines and a captivating gaze, holds the scene with subtle humor and a magical aura that blurs fantasy and reality. The palette—yellow, red, white, and black—amplifies the expressive impact, while transparencies and assemblages enrich the surface with symbolism and texture.
An artist who turns the discarded into visual poetry
Zeta Yeyati is an Argentine visual artist whose work blends aesthetic sensitivity with environmental awareness. Known as a musician, his visual creativity took root in childhood, when drawing became his natural form of expression. This early connection to image-making evolved into a visual language where each found object holds new potential, and each fragment becomes a poetic testimony. For Yeyati, art does more than represent—it repairs, redefines, and rewrites.
Salimos de noche obra de Zeta Yeyati as a reflection of a free and sensitive practice
fully reflects a creative approach free from imposed rules. His artistic process begins with what others discard: broken ceramics, torn papers, reclaimed wood. Everything can be integrated, everything can be revalued. By combining stencil work, free drawing, and mixed techniques, Yeyati has shaped a solid aesthetic identity rooted in intuitive experimentation and a deep listening to his surroundings. His artistic journey has unfolded across workshops, flea markets, and personal exploration, resulting in a style that breathes both freedom and care. In this piece, the very materials become storytellers, giving the cat a mythological presence.
A nocturnal tale filled with urban magic and reclaimed memory
invites us to shift our gaze, to reinterpret the night not as an ending but as a space of possibility. The work speaks on multiple levels, from its singular visual surface to the deeper concept where recycling becomes a symbol of resistance and reinvention. The cat’s gaze, fixed yet open to mystery, mirrors our own desire to explore the unknown. It is in this intersection of the everyday and the fantastical that the piece reaches its full resonance, leaving the viewer with a sense of discovery and wonder.
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Presentation
Zeta Yeyati (Burzaco, 1965) is a visual artist who has transformed recycling into a poetic language and forgotten matter into an act of aesthetic redemption. While the public has come to know him as a musician in projects like Los Intocables, La Mississippi, or Babel Orkesta, his true creative roots lie in the visual arts. Visual expression was his first terrain. Before the chords came drawing. Before the stages came interlocked tree trunks.
A restless and sensitive autodidact, Yeyati attended workshops with figures such as Antonio Pujía, León Ferrari, and Diana Aisemberg, yet his work doesn't follow any formal school. He moves freely between ceramics, collage, stencil, and assemblage. His aesthetic is nourished by what others discard: street posters, scraps of iron, furniture legs, bronzes, and aged wood. A dumpster was his first museum. Then came flea markets, where he continues to collect remnants for his unique pieces.
In his works, dogs, birds, musicians, queens, horses, and magicians coexist, as if each figure emerged from a story older than the object itself. His repertoire is populated by characters that rise from the collage with the force of a lucid dream. He does not seek to imitate reality but to reincarnate fragments of it. As curator Rodrigo Alonso described, his art is a “vital philosophy" — a gesture that defies consumerism and embraces the possibility of reviving the forgotten.
Color —present with striking intensity in his recent work— arrived through an internal shift: his encounter with Milo Lockett, which not only redefined his palette but also his way of sharing his universe. Since then, Yeyati's work pulses with a more playful energy, without losing its symbolic depth.
Yeyati does not merely create images —he builds an emotional archaeology from the remnants of everyday life. Each work is a story made of time, memory, and waste; a rescue act that restores humanity to matter. From that gesture —profoundly plastic and profoundly human— his art speaks to those willing to look beyond the surface.
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