BRUSSELS.- In January, Martins&Montero presents The Restlessness of a Still Life, the first solo exhibition of Brazilian artist Hiram Latorre in Brussels. The show brings together the continuity of his chromatic and spatial investigations in large-scale paintings and introduces experiments in bronze sculptures. The exhibition project will be accompanied by a text by critic and curator Bernardo de Souza.

In this new phase, Latorre expands his pictorial field and examines the relationships between surface, material, and space. His use of natural elements such as linen and beeswax continues to lend the work a tactile, organic, and sensorial dimension, allowing each canvas to engage directly with the palpable architecture that surrounds it.

The exhibition establishes a temperature-based dialogue with the Brussels winter. Latorre works with warm tones — reds, burgundies, ochres, and oranges — which contrast with the city’s cold winter light. This tension between interior and exterior, warmth and coolness, creates a sense of presence and welcome. His colors not only warm and illuminate the exhibition space; they seem to offer a kind of architectural comfort

In his new paintings, the artist broadens his field of vision. Previously contained environments, once shaped by the protagonism of everyday objects, now open into chromatic planes that build increasingly layered perspectives. The familiar objects that remain visible are enveloped by interior prisms that invite the viewer to step into the work.

The bronze sculptures introduce another branch of his experimentation. Modeled from sheets of aluminum, they become imagined flowers with irregular textures and glaucous, greenish tones. They carry something of inventory and remembrance, as if they sought to give form to the passage of time.

The exhibition marks a turning point in Latorre’s trajectory: a shift from a meticulous gaze to a more expansive spatial approach, in which the time of painting begins to merge with the time of the space itself. Between the intimate and the outward-reaching, between contained gesture and the gallery’s own external connections, the exhibition becomes an exercise in existence through color.