Lili Cortina is an architect and ceramicist born in Mexico City. Her work weaves together architecture, earth, and the shaping hand. She collaborates closely with artisan communities in Metepec and Michoacán, creating pieces that celebrate the material and cultural richness of Mexico. Influenced by Japanese high-fire techniques, her work forms a bridge between ancestral knowledge and contemporary forms.
For this edition of A La Mexicana (2025), Lili presents a selection of unique high-fire pieces. Local clays, sober forms, and precise gestures converse in each object. Some pieces serve as containers for the everyday; others are silent sculptures inviting pause. Here, ceramics are more than form—they are history, fire, and community.

Rodrigo Garagarza is an artist and designer from Mexico City. His work blends sculpture, architecture, and playful memory. Using materials such as bronze, wood, and steel, he reinterprets traditional toys—like jacks or spinning tops—to create pieces that evoke play, nostalgia, and the geometry of childhood.
For A La Mexicana (2025), Rodrigo presents a series of sculptures that reimagine icons of Mexican popular imagination. These materially striking works celebrate the tactile, the solid, the things that spin, fall, and rise again. Each piece interacts with the space like a courtyard, a vestibule, or a plaza—inviting the body to remember how to play.
The exhibition is accompanied by sketches and diagrams that reveal the process between object, memory, and form.

Maribel Portela is a multidisciplinary artist from Mexico City. Her work unfolds between the organic and the abstract, using mediums such as paper, ceramics, and natural fibers. Over more than fifty solo exhibitions, she has explored themes of growth, repetition, and ephemerality—weaving connections between matter and the body, gesture and landscape.
For A La Mexicana (2025), Maribel presents a series of recycled pieces inspired by natural structures: rhizomes, coral, seeds, and plant skeletons. These sculptural forms, built with precision and rhythm, reveal a sensitivity to the silent transformation of materials. Paper and fiber also appear as gestures of lightness, offering a counterpoint to the weight of fired earth.
The work is accompanied by visual records and process fragments, where craft becomes a meditative and revealing act.

Carlos Hann is a photographer from Mexico City whose documentary and aesthetic eye has
captured the landscape, craftsmanship, and everyday life of Mexico since the 1980s. Through his lens, Hann has built a visual archive that celebrates the richness of the country’s territory and cultural expressions. His work is marked by a deep sensitivity to light, detail, and composition, and has received awards such as Kodak, Conabio, and ABB.
For A La Mexicana (2025), Hann presents a selection of images from his archive México Hecho a Mano, a photographic series portraying craftspeople, hands, and materials in process. These photographs act as visual tributes to artisanal knowledge, revealing textures, tools, and gestures that are repeated and reinvented across generations.
The photographic installation is complemented by excerpts from his books and travel maps tracing the artist’s journeys through different regions of the country.

Emilio García Plascencia is a self-taught artist from Mexico whose work moves fluidly between sculpture, architecture, and material experimentation. He explores the subjective relationship between humans and objects. Drawing on mentorships with various masters and his background in visual arts and architecture, he creates pieces that reflect the complexity of perception and experience.
For A La Mexicana (2025), Emilio presents a series of sculptures that delve into emotional responses to form and material. The works engage with the transformation of space, inviting visitors to reflect deeply on their interaction with the environment. Some pieces are functional, others exist in the symbolic and ritual realm — all sharing a sensitivity to process and perception.
The series is accompanied by process documentation and visual fragments that enrich the viewer’s experience.

Rolando Rojas (Juchitán de Zaragoza, Oaxaca) is a painter and visual artist whose work delves into the spiritual, mythological, and ancestral dimensions of Mexican identity. His vibrant color palette and symbolic compositions evoke both memory and transformation. For A La Mexicana (2025), Rojas contributes paintings that serve as portals—gestures of introspection and cultural affirmation.

Adán Paredes (Oaxaca de Juárez, Oaxaca) is a renowned ceramicist whose practice bridges Indigenous cosmologies and contemporary sculpture. His pieces often reference sacred geometry and organic forms, inviting a dialogue between materiality and metaphysics. In A La Mexicana (2025), Paredes presents ceramic works that function as altars—honoring land, body, and spirit.

Hugo Lugo (Culiacán, Sinaloa / based in Mexico City) is a multidisciplinary artist whose work spans drawing, photography, and conceptual installation. Known for his
delicate yet profound explorations of presence, memory, and the invisible, Lugo brings a poetic sensibility to the exhibition. For A La Mexicana (2025), he offers visual interventions that reflect on cultural layering and erasure.

Raquel Charabati (Mexico City, CDMX) is a designer and cultural researcher exploring the links between territory, textile, and identity. Her work investigates the symbolic weight of fabric as a vehicle of belonging and resistance. At A La Mexicana (2025), Charabati presents a series of textile compositions that reimagine the archive as a living, breathing entity.

Francisco González Pulido (Mexico City, CDMX) is an architect whose work embodies clarity, innovation, and a deep sensitivity to context. With a global portfolio and a commitment to socially responsible design, his contribution to A La Mexicana (2025) reflects architecture’s power to shape experience and memory. His installation acts as a spatial narrative—a structure that frames the emotional landscape of the exhibition.

Mexican architecture, known for integrating tradition and modernity through elegant material language. For A La Mexicana (2025), Gómez-Pimienta offers a structural intervention that dialogues with the exhibition’s ethos—crafting a space where design, culture, and history converge.

For A La Mexicana 2025, Ángela Damman unveils a sensory installation that pays homage to the Yucatán’s landscape and heritage. Through organic textures, earth-toned palettes, and immersive spatial design, she evokes a quiet reverence for nature and tradition. Each piece embodies a dialogue between material and place, offering a vision of design as stewardship, storytelling, and cultural continuity.