On February 5 in Mexico City, artist Magali Lara debuts an inaugural solo exhibition at Galería RGR: “Robar lo que me pertenece.” Translated to “Steal what belongs to me,” the captivating show, curated by Art Director Gabriela Rangel, traverses decades of expressive artistry by the inspired Mexican creative. A procession of works on display beckon viewers into a visual symphony of drawing and painting, delving deeply into the many shades of femininity, sexuality, and maternity. Honest and determined investigations into the mysterious realms of love and death play out in intense abstract works. Meticulously curated, a notable variety of collages, gouaches, oil paintings, as well as artist books and a textile, illuminate diverse eras of Lara’s enveloping and perceptive artistic universe.
Lara generously took the time to impart to Whitewall the way in which her work originates from experienced sensations, carefully selecting materials that produce either texture or transparency, and the day-to-day operations of her bright studio in Cuernavaca, Morelos.

WHITEWALL: How would you describe your creative practice?
MAGALI LARA: I like to think that my work resembles essay writing. There is a formal and conceptual investigation surrounding a theme, which often originates from sensations I experience—either about myself or the world around me. My research intersects with other authors, images, and works by other artists, but always with the aim of constructing a kind of narrative thread that is not linear but rather closer to poetic thought.
WW: Can you tell us about the kinds of materials you are drawn to?
ML: It largely depends on the theme I’m working on. I choose materials based on their ability to translate a physical sensation I seek to convey. I always start with drawing—sometimes with pencil—but very soon, I decide whether I want materials that produce texture or transparency. I have worked with a wide range of techniques precisely for this reason: I care about the temperature the artwork generates.
“I choose materials based on their ability to translate a physical sensation I seek to convey,”
Magali Lara
WW: Tell us about your color palette. What tones are you drawn to?
ML: I would say I have two very distinct approaches, though there are areas where they intersect. On one hand, I have a preference for red, black, and white. However, for each series, I build a particular palette that shifts from reds to greens to blues.
A Conversation on Intimacy, Landscape, and The Body at Galería RGR

WW: What was the starting point for this exhibition?
ML: This exhibition is conceived as a presentation of different series created from the 1980s to the present. It reflects my ongoing fascination with intimacy, landscape, and the body, though expressed in vastly different ways—sometimes with humor and a comic-like visual language, and other times in a more painterly, abstract manner. It is important to me that each series establishes its own distinct universe in formal terms, even if similar themes reappear conceptually.
WW: Can you tell us about how visitors will move through the space? What do you hope they experience?
ML: This exhibition is designed to invite visitors into a conversation or interaction with the works in various ways. Some pieces require reading the text embedded within them, while others invite viewers to be guided by color and rhythm. The final piece, Los Glaciares, is an immersive installation. I would encourage visitors to sit and watch the full projection, as it is meant to be experienced in its entirety.
WW: Was there something new you explored for this show?
ML: Yes, there are paintings created specifically for this exhibition that are based on a work by Dürer, but they address climate change—serving as a metaphor for our current crisis. These works raise questions about humanity and our relationship with nature.
“These works raise questions about humanity and our relationship with nature,”
Magali Lara
WW: Where do you typically begin with an artwork?
ML: I start with a concept or an image that intrigues me and begin drawing in my sketchbooks to understand why it resonates with me. Gradually, I materialize these thoughts into drawings or painting studies. Sometimes, an animation idea emerges. Thinking about how I want the final piece to take shape is crucial for me—whether as an artist’s book, a temporary drawing, or, as in this case, a series of paintings.
The Creative and Collaborative Studio of Magali Lara

WW: Can you tell us about your studio?
ML: I have a bright studio in Cuernavaca, Morelos. I work with a team of three people who help manage my archive and administrative tasks. They also collaborate with me on large-scale ephemeral drawings and animations. We discuss how to present the pieces, and they assist with installation and editing processes.
WW: What is a typical day like for you in the studio?
ML: I wake up very early and start drawing. I also keep a journal. On Mondays and Tuesdays, my assistants come in, and we handle everything related to the archive and office work. I work on my artwork when I’m alone, but drawing and reading are daily practices for me. When I paint, I need an entire uninterrupted day to do so.
WW: Is there an element of your creative process you make sure to do each day?
ML: Yes—my drawing and reading journals. They are an essential part of my process, where I gather ideas and references.
WW: What are you working on next in the studio?
ML: Right now, we are working on a series of publications related to my solo exhibition at MUAC, which opens in April this year. Additionally, I have a couple of artist books in progress.
