Mándame Ivonne,
2021
Zeta Yeyati
Painting : collage, Stencil, mixed media
92 x 59 x 0.5 cm 36.2 x 23.2 x 0.2 inch
€526
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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
Medium
Dimensions cm • inch
92 x 59 x 0.5 cm 36.2 x 23.2 x 0.2 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: Mexico
"Mándame Ivonne" presents the quiet intensity of a female portrait that seems to emerge from an unsent letter. From its title, the piece suggests a relationship between absence, longing and evocation. Created in mixed media on paper, measuring 59x92 cm, the painting is built with acrylic, stencil, collage and assemblage, shaping a visually balanced and symbolically rich image. The woman portrayed with essential lines and a palette of orange, white, black and grey stands at the center of a scene where compositional harmony reigns. Her gaze, a signature of Yeyati's work, carries an unspoken narrative. Gesture dominates over literal depiction and ornamental elements blend seamlessly into a language of visual poetry. With a vintage charm and slightly anachronistic tone, recalls characters from forgotten tales. As with all of Yeyati's pieces, this work reflects an ethical approach to artmaking. The materials used are reclaimed, repurposed and turned into meaningful elements. Recycling here is not a stylistic choice, but a philosophical one, a quiet stand against waste and excess. This work becomes both a visual proposition and a poetic act of transformation.
A language forged between the discarded and the poetic
Zeta Yeyati is an Argentine visual artist who turns discarded materials into poetic imagery. While recognized for his musical career, his creative origins lie in drawing and working with found objects since childhood. His art arises from a profound sensibility that observes the overlooked and transforms the mundane into meaning. In his hands, fragments become stories and textures become memory.
Mándame Ivonne obra de Zeta Yeyati as a key piece in his visual universe
embodies the essential traits of his creative process. Though shaped by workshops with artists like Pujía, Ferrari and Aisemberg, Yeyati's art follows no school or canon. His language is free, intuitive and deeply personal. In this work, stencil, ceramic, collage and assembled materials such as metal and wood converge to form a portrait that feels as intimate as it is mysterious. With minimal lines and rich textures, the female figure becomes more than an image. She is a presence, a memory, a message never received. The painting resonates through its quiet composition and symbolic materiality. invites us to see not just a face, but a world constructed from absence and imagination.
Art as a message held in suspension
In this piece, Yeyati gives us more than a portrait. is a suspended message, a visual postcard that speaks through silence. It touches on themes of longing, interruption and intimacy. Its restrained palette and hybrid aesthetic amplify its emotional resonance. The work reminds us that art can express what words often cannot. Through salvaged materials and a personal gaze, emerges as a poetic and visual jewel, born from gesture, emotion and attentive observation.
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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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