Bronze Sculpture for Sale
Reina del viento, 2023
Painting : collage, mixed media · 68 x 96 x 1 cm 26.8 x 37.8 x 0.4 inch
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
68 x 96 x 1 cm 26.8 x 37.8 x 0.4 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2023 • Top Seller
Description
A figure that rules the moment through lightness
Reina del viento enters the viewer's gaze with both softness and power. This 96x68 cm mixed media piece on paper, combining acrylic, stencil and collage, portrays a female figure who seems to drift across an invisible interior landscape. She is not simply a woman, but a symbol—a queen without a throne, sovereign of silence and memory. The notion of "Reina del viento" is expressed through layered textures, essential graphic lines and a gentle chromatic temperature built with oranges, browns, whites and blacks. The figure, defined by minimal strokes, dominates the visual field with a presence that feels lifted from a legend or forgotten tale. The composition is marked by harmony, expressive gestures and graphic-pictorial hybridity. As always in Yeyati's work, the materials themselves tell a story. Recovered from the street or market, they are reborn as poetic fragments that form the body of the image. In Reina del viento, the discarded is uplifted and transformed into visual poetry. This queen reigns not through force but through presence.
A language shaped by wood, drawing and memory
Zeta Yeyati, born in Burzaco in 1965, is an Argentine visual artist whose creative instinct began in childhood with drawing and woodworking. While also known for his music, his visual art has evolved in parallel, driven by intuition and attention to overlooked objects. His practice is rooted in a poetic ethic, where the forgotten becomes essential, and small gestures become significant.
Reina del viento obra de Zeta Yeyati as a free expression of identity and symbol
Reina del viento obra de Zeta Yeyati reveals the freedom and intuition of his artistic process. Self-taught and exploratory, he developed his language outside academic systems, drawing from both street materials and learning with great masters. Ceramic, stencil, paper, oxidized metal and memory-laden objects are his tools. In this piece, the female figure becomes a symbol—stylized, essential, quietly powerful. The visual economy of the portrait contrasts with the intensity of its textures. The work narrates without narrative. It is made of wind, of fragments, of presence. Reina del viento obra de Zeta Yeyati demonstrates the artist's capacity to build a world from remnants.
The wind as memory and the queen as visual metaphor
This work speaks through suggestion. The queen of the wind floats between reality and dream, between now and always. In her, Zeta Yeyati condenses his aesthetic vision—a celebration of the poetic and the rescued. She does not command with grandeur but with stillness. In her silence, she invites reflection. Reina del viento obra de Zeta Yeyati is not only a painting but a subtle act of sovereignty over the unseen.
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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