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studiolenca
Studio Lenca
Latino previously undocumented in the USA
From El Salvador 🇸🇻 currently UK 🇬🇧
David Castillo is proud to announce its representation of @studiolenca in North America. The artist’s practice explores identity, migration, and belonging through a displaced, mixed Indigenous lens, drawing on personal history. Studio Lenca’s work reclaims fragmented and often erased narratives. Joy and belonging are positioned as radical acts rooted in lived experience and ancestral knowledge. His solo exhibition is currently on view at the gallery, with recent press for the exhibition in @galeriemagazine @artnews @juxtapozmag @ocula.art @friezeofficial @theartnewspaper.official @whitewall.art and @cultured_mag The artist’s work is also currently on view at MoMA PS1 in La Escuela: Education as Resistance and Rubell Museum, Miami.
The gallery has long contextualized artists whose work address the prevailing narratives within culture to challenge histories. Studio Lenca’s work is an integral part of the broader conversations the gallery has nurtured for over two decades. David Castillo’s emphasis on history, art history, and beauty seeks to constantly enhance cultural legacies.
Studio Lenca was born in La Paz, El Salvador (1986) and lives in Margate, UK, where he works at Tracey Emin Studios. He received his MA from Goldsmiths University of London and has had solo exhibitions in Miami, New York, Hong Kong, London, Bangkok, Seoul, Dubai, among others. His work has been included in group exhibitions including El Museo del Barrio, New York and Hauser & Wirth, London. Upcoming commissions include Un-Monument | Re-Monument | De-Monument: Transforming Boston; recent commissions include Hermes, London. His work is in public collections including Rubell Museum; Parrish Art Museum; Leslie-Lohman Museum of Art; and PAMM among others.
Image 1: Studio Lenca, photo by Marc Hibbert
Image 2: Studio Lenca, Flor, 2025, Oil and acrylic on canvas, 100 x 100 cm
Image 3: Studio Lenca, Rutas (detail), 2025 in “La Escuela: Education as Resistance” at MoMA PS1
#studiolenca #histories #narratives #belonging joy ancestral context convesation legacies painting sculpture installation community davidcastillo #davidcastillogallery
David Castillo is proud to announce its representation of @studiolenca in North America. The artist’s practice explores identity, migration, and belonging through a displaced, mixed Indigenous lens, drawing on personal history. Studio Lenca’s work reclaims fragmented and often erased narratives. Joy and belonging are positioned as radical acts rooted in lived experience and ancestral knowledge. His solo exhibition is currently on view at the gallery, with recent press for the exhibition in @galeriemagazine @artnews @juxtapozmag @ocula.art @friezeofficial @theartnewspaper.official @whitewall.art and @cultured_mag The artist’s work is also currently on view at MoMA PS1 in La Escuela: Education as Resistance and Rubell Museum, Miami.
The gallery has long contextualized artists whose work address the prevailing narratives within culture to challenge histories. Studio Lenca’s work is an integral part of the broader conversations the gallery has nurtured for over two decades. David Castillo’s emphasis on history, art history, and beauty seeks to constantly enhance cultural legacies.
Studio Lenca was born in La Paz, El Salvador (1986) and lives in Margate, UK, where he works at Tracey Emin Studios. He received his MA from Goldsmiths University of London and has had solo exhibitions in Miami, New York, Hong Kong, London, Bangkok, Seoul, Dubai, among others. His work has been included in group exhibitions including El Museo del Barrio, New York and Hauser & Wirth, London. Upcoming commissions include Un-Monument | Re-Monument | De-Monument: Transforming Boston; recent commissions include Hermes, London. His work is in public collections including Rubell Museum; Parrish Art Museum; Leslie-Lohman Museum of Art; and PAMM among others.
Image 1: Studio Lenca, photo by Marc Hibbert
Image 2: Studio Lenca, Flor, 2025, Oil and acrylic on canvas, 100 x 100 cm
Image 3: Studio Lenca, Rutas (detail), 2025 in “La Escuela: Education as Resistance” at MoMA PS1
#studiolenca #histories #narratives #belonging joy ancestral context convesation legacies painting sculpture installation community davidcastillo #davidcastillogallery
David Castillo is proud to announce its representation of @studiolenca in North America. The artist’s practice explores identity, migration, and belonging through a displaced, mixed Indigenous lens, drawing on personal history. Studio Lenca’s work reclaims fragmented and often erased narratives. Joy and belonging are positioned as radical acts rooted in lived experience and ancestral knowledge. His solo exhibition is currently on view at the gallery, with recent press for the exhibition in @galeriemagazine @artnews @juxtapozmag @ocula.art @friezeofficial @theartnewspaper.official @whitewall.art and @cultured_mag The artist’s work is also currently on view at MoMA PS1 in La Escuela: Education as Resistance and Rubell Museum, Miami.
The gallery has long contextualized artists whose work address the prevailing narratives within culture to challenge histories. Studio Lenca’s work is an integral part of the broader conversations the gallery has nurtured for over two decades. David Castillo’s emphasis on history, art history, and beauty seeks to constantly enhance cultural legacies.
Studio Lenca was born in La Paz, El Salvador (1986) and lives in Margate, UK, where he works at Tracey Emin Studios. He received his MA from Goldsmiths University of London and has had solo exhibitions in Miami, New York, Hong Kong, London, Bangkok, Seoul, Dubai, among others. His work has been included in group exhibitions including El Museo del Barrio, New York and Hauser & Wirth, London. Upcoming commissions include Un-Monument | Re-Monument | De-Monument: Transforming Boston; recent commissions include Hermes, London. His work is in public collections including Rubell Museum; Parrish Art Museum; Leslie-Lohman Museum of Art; and PAMM among others.
Image 1: Studio Lenca, photo by Marc Hibbert
Image 2: Studio Lenca, Flor, 2025, Oil and acrylic on canvas, 100 x 100 cm
Image 3: Studio Lenca, Rutas (detail), 2025 in “La Escuela: Education as Resistance” at MoMA PS1
#studiolenca #histories #narratives #belonging joy ancestral context convesation legacies painting sculpture installation community davidcastillo #davidcastillogallery
In MoMA PS1’s Homeroom, @StudioLenca recently led “Rutas.” Lenca has historically facilitated “Rutas” painting workshops as spaces for displaced individuals to document their experiences moving through both land and feelings. In this iteration of “Rutas”, the artist collaborated with local teens from @glasswingi, each of whom contributed a painting narrating their unique story. Collectively, these works form an archive of displacement and resilience.
Presented as part of an exhibition by @laescuela.art, “Education as Resistance” foregrounds education as an artistic practice and a space for dialogue, reflection, and collective making.
Link in bio to plan your visit to experience this project, which underscores education as social practice. 👉 Admission is free for all!
🎵: a Marea / Circus Marcus by Independent Music Licensing Collective (IMLC), Free Music Archive, CC BY-NC-ND
Monuments, 2024, Paper, blankets and found materials, variable dimensions
Monuments, 2024, Paper, blankets and found materials, variable dimensions
Monuments, 2024, Paper, blankets and found materials, variable dimensions
Monuments, 2024, Paper, blankets and found materials, variable dimensions
Monuments, 2024, Paper, blankets and found materials, variable dimensions
Monuments, 2024, Paper, blankets and found materials, variable dimensions
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
The making of ‘Libertad’ 2025 at Counter Editions print studio. I love translating my paintings into different materials and processes
Dreamland (2024) Three mobile papier-mâché volcanoes.
Made in collaboration with young asylum seekers from Kent Refuge Action Network.
Dreamland (2024) Three mobile papier-mâché volcanoes.
Made in collaboration with young asylum seekers from Kent Refuge Action Network.
Dreamland (2024) Three mobile papier-mâché volcanoes.
Made in collaboration with young asylum seekers from Kent Refuge Action Network.
Dreamland (2024) Three mobile papier-mâché volcanoes.
Made in collaboration with young asylum seekers from Kent Refuge Action Network.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
For the first time, my family in El Salvador got to see my paintings. The first pic is them at the exhibition (:
And over four days, 2,000 people came through. I didn’t expect that at all.
All the different parts of me aligned.
Thank you to everyone who made this possible.
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