Series “Uno y dos caminos”
[One and Two Paths]
These pieces continue to explore the symbolic potential of paintbrushes beyond their function as tools. The paint, applied layer by layer over nine months, traps them and devours their original purpose, but endows them with new interpretations and meanings.
Giro de cabeza
[Head Turn]
Giro de cabeza [Head Turn], consisting of spilt, squashed paint blobs spreading over a board like a painter’s palette: the palette recalls the idea of the workshop and the artist’s labour in the studio but is impossible to paint with, as each messy mass of colour once again engulfs its own tools. The paint returns to the palette through gesture and performativity, devouring its implements.
Series “Camino de vuelta”
[The Way Back]
These pieces explore the symbolic potential of painting brushes beyond their functionality as tools. The artist has devised three new bodies of work in which he “doubles back”, retracing the steps taken in recent years.
In the series Camino de vuelta, paint completely devours brushes from the artist’s studio. Coat upon coat of acrylic paint, applied over nine months, traps and strips them of their original function.
Despintando rojo
2023“Despintando Rojo” is a site-specific painting installed in 2023 at the Colección del Museo Ruso in Málaga. The work consists of a large red square created through a system of overlapping papers fixed to the wall with staples, which are subsequently partially torn off.
Series “Ustedes, vosotros”
2024 >>Each work in the series forms a collective portrait. Mora narrows down a specific experience or moment in his life, extracts the color palette of the people involved in that situation or period, and with it, layer by layer, builds the pieces.
Siete veces yo
[Seven Times Me]
Self‑portraiture has long been one of the major genres in the history of painting. Typically created in a figurative language, self‑portraits have recorded historical, personal, and emotional moments of many artists.
For his 2022 exhibition at Sala Alcalá 31, Guillermo Mora paid homage to this genre, but how did he reinterpret it through his abstract visual language? To answer this, the artist devised a play between time and color, framing one week of his life—seven days that culminated in the work Siete veces yo [Seven Times Me].
SÍ PERO NO
[YES BUT NO]
The works in the Sí pero no series are created based on a specific protocol: a rectangular perimeter is marked on the wall, and the interior surface is covered with papers fixed using staples. Once the entire interior surface of the rectangle is covered, the papers are then torn off following the specified protocol.
The box includes all the materials and tools needed to create the piece, as well as an instruction manual (in Spanish and English).
Dulce Tadao [Sweet Tadao]
2018During his 2018 residency at Casa Wabi in Puerto Escondido, Mexico, the artist created Sweet Tadao, a site‑specific installation. Each day, he collected plastic bottle caps from the beach and embedded them into the voids of Tadao Ando’s concrete formwork.
Piedra espesa
[Dense Stone]
Piedra espesa is a site-specific installation created by Guillermo Mora in 2018 for the exhibition Querer parecer noche at the CA2M in Móstoles, Madrid. The work consists of a large blue clay wall (415 x 365 x 70 cm) that extends from floor to ceiling, transforming the exhibition space into a vertical, dividing night sky.
Series “Colección de fondos”
2017 > 2019Colección de fondos represents a key moment in Mora’s work, a turning point where he redefines his abstract visual vocabulary and challenges the methodological foundations of painting.
Obras Completas
[Complete Works]
Obras Completas [Complete Works] is the first book by artist Guillermo Mora, a collection of 20 unique pieces comprised of plenty of books from his personal library marked with paint, trapped together for good.
Series “Notebook”
2015-2016This series of nine pieces functions like pages of a diary, exploring methods of translation, transference, and codification in the shift from writing to painting.
Una, otra y otra vez a la vez
[Once, Again, and Again at the Same Time]
Mora rebels against the tyranny of painting’s vertical plane and reinstalls it in the horizontal and transverse. At the same time, this new representation produces another novelty: from liquid to solid, from disconnected letters with which the artist builds a discourse, to a story completed in one fell swoop, done in one stroke, proving that the medium is reinvented, that painting always has something new to say in the artist’s expression.
Series “Mitad tú, mitad yo”
2013 > to the presentEach piece functions as a kind of portrait, alluding to someone absent—a person once close to the artist who is no longer part of his life. The number of works created so far corresponds to all those individuals who left a mark on his life and are no longer present.
PENTA PACK
2012What would happen if we applied the practical systems of everyday objects to the object of painting? What kind of object would painting become? If, in traditional painting, the stretcher has been the structure that has contained it for centuries, why not contain it from other angles and through different methodologies? Why not create a painting based on the idea of a held, reduced, compact, and sealed block?
Entre tú y yo
[Between You and Me]
An emblematic piece in Guillermo Mora’s body of work that moves between painting, drawing, and sculpture. It is part of a series in which the artist questions the two-dimensionality of the pictorial medium from a physical and corporeal perspective.
Prototype
2011Prototype reveals Guillermo Mora’s fascination with fragmentation and visual reconstruction. This piece showcases his characteristically experimental approach, assembling fragments of stretchers using metal hinges. The mobile nature of the work reflects the artist’s constant desire to transgress the conventional boundaries of painting.
![Guillermo Mora - [she][lf]](https://www.guillermomora.com/wp-content/uploads/2025/08/GUILLERMO_MORA_shelf_001-1400x934.jpg)
[she][lf]
2011Work produced during his residency in Rome, comprising an exhibition of paintings that were created, dismantled, and folded, ultimately transformed into a nomadic and portable object.
Atrapacielos
2008The Atrapacielos series (2007–2008) represents a pivotal moment in Guillermo Mora’s oeuvre, wherein painting transcends its traditional two-dimensionality to assume volume and physical presence. In these early works, Mora employs a practice that integrates painting and sculpture, transforming stretchers into three-dimensional blocks in which the paint is securely contained and confined within their hollow interiors.
Signo
2007Signo anticipates many of the key elements in Guillermo Mora’s practice, such as the idea of “hinge painting.”
I Have a Rainbow for You
but it’s Missing Six Colors
This edition originates in the curved structure of the rainbow and its association with the pencil—an object also inherently linked to color. By adapting the pencil’s straight form to the rainbow’s characteristic curve, both icons are transformed. As a pencil, it retains all its qualities except its linearity. As a rainbow, six of its seven constituent colors disappear.
Series “Uno y dos caminos”
[One and Two Paths]
These pieces continue to explore the symbolic potential of paintbrushes beyond their function as tools. The paint, applied layer by layer over nine months, traps them and devours their original purpose, but endows them with new interpretations and meanings.
Giro de cabeza
[Head Turn]
Giro de cabeza [Head Turn], consisting of spilt, squashed paint blobs spreading over a board like a painter’s palette: the palette recalls the idea of the workshop and the artist’s labour in the studio but is impossible to paint with, as each messy mass of colour once again engulfs its own tools. The paint returns to the palette through gesture and performativity, devouring its implements.
Series “Camino de vuelta”
[The Way Back]
These pieces explore the symbolic potential of painting brushes beyond their functionality as tools. The artist has devised three new bodies of work in which he “doubles back”, retracing the steps taken in recent years.
In the series Camino de vuelta, paint completely devours brushes from the artist’s studio. Coat upon coat of acrylic paint, applied over nine months, traps and strips them of their original function.
Despintando rojo
2023“Despintando Rojo” is a site-specific painting installed in 2023 at the Colección del Museo Ruso in Málaga. The work consists of a large red square created through a system of overlapping papers fixed to the wall with staples, which are subsequently partially torn off.
Series “Ustedes, vosotros”
2024 >>Each work in the series forms a collective portrait. Mora narrows down a specific experience or moment in his life, extracts the color palette of the people involved in that situation or period, and with it, layer by layer, builds the pieces.
Siete veces yo
[Seven Times Me]
Self‑portraiture has long been one of the major genres in the history of painting. Typically created in a figurative language, self‑portraits have recorded historical, personal, and emotional moments of many artists.
For his 2022 exhibition at Sala Alcalá 31, Guillermo Mora paid homage to this genre, but how did he reinterpret it through his abstract visual language? To answer this, the artist devised a play between time and color, framing one week of his life—seven days that culminated in the work Siete veces yo [Seven Times Me].
SÍ PERO NO
[YES BUT NO]
The works in the Sí pero no series are created based on a specific protocol: a rectangular perimeter is marked on the wall, and the interior surface is covered with papers fixed using staples. Once the entire interior surface of the rectangle is covered, the papers are then torn off following the specified protocol.
The box includes all the materials and tools needed to create the piece, as well as an instruction manual (in Spanish and English).
Dulce Tadao [Sweet Tadao]
2018During his 2018 residency at Casa Wabi in Puerto Escondido, Mexico, the artist created Sweet Tadao, a site‑specific installation. Each day, he collected plastic bottle caps from the beach and embedded them into the voids of Tadao Ando’s concrete formwork.
Piedra espesa
[Dense Stone]
Piedra espesa is a site-specific installation created by Guillermo Mora in 2018 for the exhibition Querer parecer noche at the CA2M in Móstoles, Madrid. The work consists of a large blue clay wall (415 x 365 x 70 cm) that extends from floor to ceiling, transforming the exhibition space into a vertical, dividing night sky.
Series “Colección de fondos”
2017 > 2019Colección de fondos represents a key moment in Mora’s work, a turning point where he redefines his abstract visual vocabulary and challenges the methodological foundations of painting.
Obras Completas
[Complete Works]
Obras Completas [Complete Works] is the first book by artist Guillermo Mora, a collection of 20 unique pieces comprised of plenty of books from his personal library marked with paint, trapped together for good.
Series “Notebook”
2015-2016This series of nine pieces functions like pages of a diary, exploring methods of translation, transference, and codification in the shift from writing to painting.
Una, otra y otra vez a la vez
[Once, Again, and Again at the Same Time]
Mora rebels against the tyranny of painting’s vertical plane and reinstalls it in the horizontal and transverse. At the same time, this new representation produces another novelty: from liquid to solid, from disconnected letters with which the artist builds a discourse, to a story completed in one fell swoop, done in one stroke, proving that the medium is reinvented, that painting always has something new to say in the artist’s expression.
Series “Mitad tú, mitad yo”
2013 > to the presentEach piece functions as a kind of portrait, alluding to someone absent—a person once close to the artist who is no longer part of his life. The number of works created so far corresponds to all those individuals who left a mark on his life and are no longer present.
PENTA PACK
2012What would happen if we applied the practical systems of everyday objects to the object of painting? What kind of object would painting become? If, in traditional painting, the stretcher has been the structure that has contained it for centuries, why not contain it from other angles and through different methodologies? Why not create a painting based on the idea of a held, reduced, compact, and sealed block?
Entre tú y yo
[Between You and Me]
An emblematic piece in Guillermo Mora’s body of work that moves between painting, drawing, and sculpture. It is part of a series in which the artist questions the two-dimensionality of the pictorial medium from a physical and corporeal perspective.
Prototype
2011Prototype reveals Guillermo Mora’s fascination with fragmentation and visual reconstruction. This piece showcases his characteristically experimental approach, assembling fragments of stretchers using metal hinges. The mobile nature of the work reflects the artist’s constant desire to transgress the conventional boundaries of painting.
[she][lf]
2011Work produced during his residency in Rome, comprising an exhibition of paintings that were created, dismantled, and folded, ultimately transformed into a nomadic and portable object.
Atrapacielos
2008The Atrapacielos series (2007–2008) represents a pivotal moment in Guillermo Mora’s oeuvre, wherein painting transcends its traditional two-dimensionality to assume volume and physical presence. In these early works, Mora employs a practice that integrates painting and sculpture, transforming stretchers into three-dimensional blocks in which the paint is securely contained and confined within their hollow interiors.
Signo
2007Signo anticipates many of the key elements in Guillermo Mora’s practice, such as the idea of “hinge painting.”
I Have a Rainbow for You
but it’s Missing Six Colors
This edition originates in the curved structure of the rainbow and its association with the pencil—an object also inherently linked to color. By adapting the pencil’s straight form to the rainbow’s characteristic curve, both icons are transformed. As a pencil, it retains all its qualities except its linearity. As a rainbow, six of its seven constituent colors disappear.