My creative process in the studio is a bit bucolic and nostalgic; it takes me back to the mountain where I was born and raised. Everything seemed available back then; it was almost like I owned everything on the mountain. I played with all the materials that Mother Nature offered up, so my toys were sticks, leaves, branches, mud and makeshift tools that I used to build improvised hunting weapons, and I let my imagination run wild in springs, caves or trees.
Back then it was normal to feel like the world was a canvas where I could explore infinite possibilities based on what the earth offered. In my current creative space, I translate that spirit into threads, natural pigments, wood, paint, wool, clay, etc…
Thread and wood have been the backbone of my artistic work, a personal canvas on which I’ve been able to understand and expand my understanding of color, light and movement, elements that have always interested, and challenged me as an artist. As a curious person, I also like to explore other crafts, like ceramics and photography, to keep playing with these fundamentals.
I’m constantly looking for techniques in which I can connect my physical and spiritual body, and always exploring ways to portray what’s not immediately perceptible (or material). My creative process uses countless kilometers of threads that slip through my hands to build each piece, transferring my organic residues and the magnetic charge of my body. I perceive the finished pieces as organic objects, and almost as spiritual bodies.
It’s impossible for me not to feel like the result is a kind of talisman or energy center, capable of connecting with places and living beings from a spiritual plane. That’s where my childhood world and my current world are also connected; in these spaces where magic, rituals and mysticism are normal parts of everyday life.
There is an ongoing interest in the architecture of ancient civilizations, and in their textil traditions, but for inspiration I also dive into contemporary Latin American currents like concrete art, op-art and kinetic art. But I prefer not to “hyper-intellectualize” or politicize my inquiry — I don ́t want to limit its intuitive and spiritual nature.
My work as an artist has been the best way for me to connect to and acknowledge myself.
It’s also been a beautiful way to discover myself the world.


Damian Suarez,
Caracas Venezuela

After leaving his native Venezuela, the life of Damián Suárez has taken place
in different countries of Latin America. Chile, Argentina, and currently Mexico represent his main cultural influences as well as regions where he has developed a sense of belonging.
His work is done with stranded threads and wood in a manual construction process that keeps him clinging to his trade, to achieve intricate geometric compositions, which when viewed in detail, discover the hundreds of thousands of strands of threads that are always part of something larger and more complex, as an emerging phenomenon.
The work is formulated to activate the sensitivity of the viewer to relate to the image through the dynamism of colors, brightness, textures and shapes. The awakening of the senses is possible thanks to the different perspectives in which it is possible to approach the work. The incidence of light and visual orientation modify the vibration of the image. This provides endless possibilities for interaction between the work and the viewer, which in itself represents a representation of Op-art.
Carly-Ann McGoldrick described her first contact with the work; The texture and the workmanship are indicative of something incredibly fast. One can imagine being in a vacuum… I find it intriguing because at first glance it looks like textured paint, but of course it isn’t” and Miguel Ángel Corona argues that; “What he does is explore the relationships between sculptural and two-dimensional painting.
When you get close, you will be surprised to find that multidimensionality of textural, colors, depth and minimum and maximum spaces” and on the technique, the critic affirms; “It is not inserted in painting, or sculpture, or textile art… it is developing a technique.”
Damián’s work has been featured in publications such as the Architectural Digest and T Magazine of the New York Times; who called him “The thread master” and affirmed; “… Remember his name because he will give much to talk about…”
Currently, Damián participates in social impact projects through the Mexico Vivo Foundation, with whom he tries to promote education and sexual health in Mexico through art.


Fenotipo de la Luz
Espacio Mannach, CDMX, 2015.

Genotipo de la Luz
1o Edition; Espacio Mannach, CDMX, 2017.
2o Edition; Pandea, Puebla, 2017.

Lenguaje Subconsciente
1o Edition; Aeropuerto FBO Acapulco, México, 2017.
2o Edition; Pavillion, Madrid España, 2018.
3o Edition; Craighead Green Gallery, Dallas, USA, 2018.

El Ser Etológico
1o Edition; Centro de Cultura Gabriel García Márquez. Fondo de Cultura de
México en Colombia,
Bogotá, Col., 2019.
2o Edition; CAM Gallery, CDMX, 2019.
3o Edition; Pandea, Puebla, 2019.

The Shape of Color
Craighead Green Gallery, Dallas, USA, 2020.
CAM Gallery, CDMX, 2021.

No Idea
Craighead Green Gallery, Dallas, USA, January, 2022

Expansive Color
SS Galerie, Mexico City, February, 2023
Claustro de Sor Juana, Mexico City, June, 2023.
Museum of Abstract Arts, Zacatecas, July, 2023.

Annual Collective Show, Van gogh Gallery, 2021, Madrid, Spain.
Exit, Museo de Arte de Sinaloa, Culiacán, 2014.
Arte Vivo, Museo de Arte Moderno, Mexico City, 2016, 2017, 2018, 2019.
Arte Vivo, Museo Jumex, Mexico City, 2020.
Arte Vivo, Museo Tamayo, Mexico City 2022.
La Ciudad de las ideas, Puebla, 2019.

Estampa Madrid, Spain, 2021.
Art à Paris, France, 2021.
Market Art+Design The Hamptons, USA, 2021.
Art à Paris, France, 2022.
Luxembourg ART FAIR, Luxemburg ,2023.

Honorific Mention – Bienal Nacional de Pintura Julio Castillo, 2014.

Perez Museum Collection.
Cinepolis Collection.W

Damián Suaréz work is to make
optical art using strands of yarn,
tens of kilometers in each painting.

La sombra 2014
190 x 190 cm

Genotipo de la Luz, Pruebla, 2017

Color Holes, 2019
Four pieces, 70 cm Ø

Color Holes, 2019
Four pieces, 70 cm Ø

No Idea, Dallas, 2022

Spatial #1 2022
80 x 80 cm

Spatial #2. 2022
80 × 80 cm

Composition en Jaunes, 2021
100 x 70 x 10 cm (2 panels)

Composition #13, 2020
200 x 80 cm

Couleur Dynamique, 2019
150 × 80 cm

Antipatrón, Mexico City, 2021

Concrete Color #1. 2022
105 × 105 cm

Concrete Color #2. 2022
105 × 105 cm

Vert Dynamique. 2022
105 × 105 cm

El color ausente 4
106 × 96 cm

The Shape of Color, Dallas, 2020

Punto Máximo de Contraste
102 × 80 cm

El Color Ausente
140 × 120 cm

Expérimentation Avec Bleu. 2021
105 × 105 cm

Expérimentation Avec Rouge #1. 2021
105 × 105 cm

Not Dangerous. 2022
200 x 200 cm

Standing paint 2
250 × 45 × 20 cm

Vibration Bleue
180 × 60 cm

Expansive Color, Mexico City, 2023


Prueba con Flor de Añil, 2021.
70 x 50 cm