Gato mirando,
2024
Zeta Yeyati
Painting : aerosol paint, collage, Stencil, mixed media
70 x 50 x 0.5 cm 27.6 x 19.7 x 0.2 inch
$375
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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
70 x 50 x 0.5 cm 27.6 x 19.7 x 0.2 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: Mexico
Gato mirando obra de Zeta Yeyati a feline gaze that questions the present
Gato mirando obra de Zeta Yeyati stands as a piece that invites the viewer to pause before the sharpness of a gaze that seems to see everything. Created on paper using mixed media including acrylic, stencil and collage, this work features a cat not as a mere domestic creature but as a symbol of contemplation, autonomy and mystery. Measuring 50x70cm, the feline figure commands the center of the composition, built with minimal outlines and expressive eyes that both reveal and conceal. Gato mirando is more than a portrait, it is an open question to the viewer. The work captures that suspended instant where something is about to happen and the cat, in its stillness, becomes both witness and accomplice. Through loose brushstrokes, translucent textures and wide chromatic planes of orange, blue, white and black, Zeta Yeyati composes a piece rich in visual tension and poetic depth. As with much of his work, this painting conveys his core philosophy: to recover what has been discarded and transform it into art. Gato mirando obra de Zeta Yeyati does not just portray a cat, it reflects a way of seeing the world with both sensitivity and defiance.
Visual roots and a transformative sensitivity
Since childhood in Burzaco, Zeta Yeyati has nurtured a profound connection with the act of creation. An Argentine visual artist, he first found expression in drawing and woodworking, long before his musical path took shape. His visual art stands out for its singular sensitivity and its poetic use of recycled materials. Through his works, he proposes a poetics of rescue, where the discarded takes center stage. This gesture is not merely aesthetic, it is a statement about the world.
Gato mirando obra de Zeta Yeyati the poetics of recovery in feline form
Gato mirando obra de Zeta Yeyati clearly embodies the artist's identity. Self-taught and a genuine explorer, he crafts unique universes that blend formal freedom with material consciousness. While he honed his craft alongside figures like Pujía, Ferrari and Aisemberg, his voice remains unmistakably his own. In this piece, he uses fragments of wood, paper, metal and urban remains to assemble an image that resonates with nostalgia and playfulness. The cat, a constant figure in many mythologies, here becomes both universal and deeply personal. Its gaze is not innocent: it watches, guards, challenges. With ornamental elements, painterly stains and an unconventional composition, Yeyati tells a wordless story. Like much of his work, this piece fuses fantasy and reality, and finds narrative power in their intersection. Gato mirando obra de Zeta Yeyati leaves a visual imprint that lingers even after the viewer turns away.
An art that observes and transforms from the margins
Gato mirando obra de Zeta Yeyati reminds us that art can emerge from the overlooked, the broken, the discarded. This piece is a quiet manifesto that questions without speaking. The cat's presence becomes a metaphor for mindfulness, for the quiet mystery of daily life and the potential of small things. Through a visual language made of stains, transparencies and poetically reclaimed materials, Zeta Yeyati creates works that move the viewer without needing grandeur. This painting invites us to look differently and to imagine that what has been discarded might still surprise us. In every line and texture lies the conviction that to see the world with new eyes is to begin to transform it.
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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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