In his first solo exhibition at Galerie Fleur & Wouter, ‘Real Magicalism’, artist Dodi Espinosa (MX, 1985) reimagines the Latin American literary tradition of magical realism. He does so through the lens of his personal story and a childlike sense of wonder. For the series of paintings on show, the artist drew inspiration from his upbringing in Teotihuacan. Espinosa channels the clarity and purity of the bright blue skies he once gazed upon as a child. The exhibition’s starting point is a collection of footage and photographs sent by his grandmother, capturing the surreal sight of hot air balloons floating above the ancient pyramids of Teotihuacan—a juxtaposition of a sacred site and a modern tourist spectacle.
For Espinosa, this dual perspective, viewed from above in the balloons and from below on the ground, embodies broader socio-economic dynamics, highlighting the divide between privilege and longing. The luxury of such a magic view underscores a theme deeply embedded in the tradition of magical realism, which often reflects on societal structures.
Espinosa’s imaginative response transforms this imagery into a surreal cycle where cacti evolve into masks and then into balloons. The cactus, native to Teotihuacan’s landscape, becomes a recurring motif, morphing into jade masks that reference the region’s rich tradition of mask-making and the cultural significance of jade as a precious material. These masks alternate between archeological fidelity to existing pieces and fantastical creations from Espinosa’s inner, science- fiction-infused world. They reflect his childhood fascination with surrealism, particularly the works of Salvador Dalí and René Magritte. This connection is further deepened by Espinosa’s migration to Spain and Belgium, the respective homelands of these surrealist icons.
The balloons adorned with spikes and thorns from the cactus, suggest a fragile and precarious existence. For Espinosa, these elements evoke the complexities of migration, the dreams and dangers of leaving one’s homeland in search of a better life. This tension mirrors the broader human experience of longing, risk, and resilience and the surreal contradictory condition of life itself.
Rendered in tones of green and blue reminiscent of jade, Espinosa’s paintings explore the human need to “fly away,” whether for pleasure or survival. These layered works reflect the complexities of movement, migration, and dreams, much like the multifaceted shades of jade itself.
Though ‘Real Magicalism’ centers on painting, Espinosa approaches the medium with a sculptor’s sensibility. His works transform objects into surreal symbols, embedding layers of meaning that blend mythology, social commentary, and personal nostalgia.Through vivid imagery and a playful yet profound exploration of identity, displacement, and universal dreams, ‘Real Magicalism’ invites viewers into a world where the magical and the real coexist, a reflection of Espinosa’s inner world and the shared human condition.
