Reina Berni,
2024
Zeta Yeyati
Painting : collage, Stencil, mixed media
100 x 70 x 1 cm 39.4 x 27.6 x 0.4 inch
€524
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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
100 x 70 x 1 cm 39.4 x 27.6 x 0.4 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: Mexico
Reina Berni obra de Zeta Yeyati a work that challenges the norms of expressionism.
In "Reina Berni", intimacy and political commentary, materiality and imagination converge in a female figure that transcends her physical depiction. This woman, elevated to the status of queen, wears not a traditional crown but one made of memory fragments, salvaged objects, and vivid colors that convey both power and tenderness. Zeta Yeyati revisits the feminine archetype with sensitivity, offering a playful yet deeply symbolic interpretation.
This mixed media work on paper measures 70x100 cm and combines acrylic, stencil, and collage in a balanced and suggestive composition. Reina Berni appears at the center, defined by just a few lines charged with powerful expression. The palette—yellow, black, red, and white—constructs a visual narrative in which painterly stains and textures evoke emotional depth. The layered elements not only generate visual depth but also meaning, with each fragment telling its own story.
Like all of Zeta Yeyati's works, this piece goes beyond aesthetics. For the artist, art is transformative. What is discarded becomes symbolic, and the forgotten is brought back to life. is not merely an image but a manifesto, proclaiming that the world can be changed through simple, humble, and intentional acts. It is an aesthetic rooted in ethics and reinvention.
The poetic alchemy of Zeta Yeyati
Born in Burzaco in 1965, Zeta Yeyati discovered his artistic voice early through drawing and woodworking. Although he also pursued a musical career, it was in the visual arts where he found his most resonant expression. His work is born not only from material recycling but also emotional transformation. Forgotten objects become visual poetry, and each piece tells a story that reflects the warmth of the handmade. For Yeyati, art bridges the real and the magical, the discarded and the reborn.
Reina Berni obra de Zeta Yeyati a language made of fragments
In the creative universe of , a unique artistic identity emerges that defies classification. Self-taught and exploratory, Yeyati shaped his aesthetic voice without adhering to formal schools, though he shared artistic paths with renowned figures such as Pujía, Ferrari, and Aisemberg. His art does not replicate but arises from a free, vital impulse. Working with ceramics, collage, stencil, and assemblage, he incorporates rusted metals, weathered wood, and objects steeped in history. His approach is both formal and ideological, rooted in time awareness and a desire to tell stories with what others discard.
A visual manifesto of resilient beauty
"Reina Berni" is more than an image; it is a declaration that imperfection can be beautiful, that personal history can become universal through art. In this piece, Zeta Yeyati encapsulates his philosophy in a figure that, while silent, speaks through color and texture. The central character, with her penetrating gaze and serene posture, is a witness to a narrative inviting us to imagine new possibilities. Through stains, broad chromatic planes, simple forms, and tactile textures, Yeyati constructs a singular visual language that moves deeply. In this kingdom ruled by Reina Berni, what is broken becomes majestic and the discarded becomes a throne.
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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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