For our second participation at Unique Design X Fair, a boutique fair for collectible design now in its third edition in Mexico City, we present fresh works by our core gallery artists: Jorge Yázpik, Emilio Flores, Luisa Restrepo, Miguel Ángel Carrera, Sabino Guisu, Alessandra Pasqua (Wanderart), and Misha Milovanovitch.

Dates: 5–8 February 2026
Hours: 12:00–20:00 h
VIP opening: 5th Feb: 17:00-20:00
Location: Expo Reforma, Avenida Morelos 67, Juárez, Cuauhtémoc, Mexico City

‘SERIADA’ - glass wall Installation

by LUISA RESTREPO, Mexico, 2026

SIZE: 72 x 242 x 5 cm
MATERIAL: Fused, water jet cut and sandblasted glass
UNIQUE PIECE

SERIADA, is a new wall installation from a recent body of work, made of recycled glass, repurposed from the remnants of another artwork creation by Columbian-Mexican glass artist Luisa Restrepo. She transformes these discarded leftovers into a beautiful piece, giving new life to what was once considered waste.
By lifting debris from past into future possibilities, the work is a journey through memory and material development, in a parallel story, that connects the act of making the first (principal) piece with the surprise and wonder of another artwork emerging.

NEWS: THE PIECE ‘CUMULARIA’ was acquired by the Chrysler Museum of Art in 2025

‘RETALES - 3.6K / 3.1K / 4.7K’

by LUISA RESTREPO, Mexico 2024

SIZE: 70 x 160 x 4cm //27.56 in x 62.99 in x 1.57 in
MATERIAL: Fused, water jet cut and sandblasted glass
UNIQUE PIECES

‘BALTRA’, glass wall piece

by Luisa Restrepo

SIZE: 77 x 52 x 12 cm
MATERIAL: Slumped and silverplated glass

These exquisite wall panels are crafted from slumped, silver-plated glass by Colombian glass artist Luisa Restrepo.
Using the kiln-formed slumping technique, molten glass is shaped over custom molds at high temperatures, resulting in fluid, sculptural surfaces that play with light and reflection.
A stunning decorative glass artwork.

‘BLUE RECEPTACLE EGG’
CERAMIC VESSEL

by SABINO GUISU, OAXACA, Mexico, 2026

SIZE:
MATERIAL: high temperature ceramic, cobalt
UNIQUE PIECE

This high-temperature ceramic vessel is conceived as a symbolic device of containment and gestation. Its organic morphology evokes primordial cavities—interior spaces understood not as emptiness, but as active potential, a site where form and meaning remain in a latent state. Entirely hand-built, the piece reveals a direct relationship between body, material, and time. In the practice of Sabino Guisu, ceramics operate as a field of material knowledge, where the manual gesture resists technical replication and instead arms a sensitive, ritualized process of making. Each formal irregularity preserves the memory of human contact and material resistance. The cobalt blue glaze, red at high temperatures, achieves a dark, dense tonality as a result of the red’s direct action. Rather than functioning as ornament, the glaze becomes a physical record of irreversible transformation: reintervenes as a determining agent, altering the surface and consolidating the dual identity of the object. The work engages a contemporary reaction on ritual and utilitarian objects, displacing function toward the symbolic realm. Rather than merely containing, it safeguards; rather than representing, it activates an idea of origin and creation in process, positioning itself at the threshold between the archaic and the contemporary.

SCREEN / ROOM DIVIDER

‘CARGADOR PEDERNAL’

by SABINO GUISU, Oaxaca, Mexico, 2026

SIZE: H: 160 x 200 cm
MATERIAL: hand-forged iron, golden sheen Obsidian, direct carving

The screen CARGADOR PADERNAL is grounded in the repetition of the A glyph found in Mixtec codices, a sign associated with the year bearers, gures charged with carrying and sustaining time within Mesoamerican ritual order. Transposed into the present, the glyph becomes a sculptural module that no longer measures time but materializes it as weight and tension. The metal framework operates as a system of support, while the obsidian blades activate a symbolic dimension linked to Tezcatlipoca’s Smoking Mirror—a dark, reective surface that does not oer stable images, but instead fractures and confronts. Obsidian introduces the edge as a site of revelation and transformation. Rather than referencing the sacred as iconography, the work reclaims it as experience. Through repetition, cut, and dark reection, time emerges as an unstable force, inviting the viewer to inhabit a threshold between the visible and the invisible.

RA (BLANC)

by MISHA MILOVANOVICH, 2024

SIZE:
MATERIAL: Resin finished in cellulose paint and shou sugi ban plinth (burnt wood)
EDITION: AP - Unique

In Misha Milovanovich’s series, “Toka, Iwi, Peka, Ra” — a title that leans into the Maori lexicon, translating into English as Rock, Bone, Twig, and Sun
— we witness a discernible shift in her artistic trajectory. This shift is not merely a change in medium or method but represents a profound re-engagement with the physical world that underpins and overarches the theoretical framework of her practice. Here, Milovanovich ventures beyond the insular confines of the studio, embarking on a tactile exploration of a once-neglected expanse of land. This transition signifies a deliberate blurring of boundaries between the act of creation and the act of cultivation, positing gardening as a form of artistic expression in itself.