Ferrer’s new ceramic works mark a decisive turn in her practice: the objects become more “closed”, formally complex, materially layered and conceptually dense. What was once an expansive field of collage and mixed media now crystallises in sculptural reliefs and ceramic constructions whose interiors––and sometimes exteriors––suggest enclosed registers of memory, migration and identity. The glazes, textures and interlocking forms reflect a refined command of technique, while the conceptual shift speaks to a larger investigation into boundaries, containment and diaspora. Through these ceramic pieces, Ferrer not only makes visible the tensions of cultural memory but also engages in a quiet collaboration of materials and traditions: clay that gestures to craft, technique that dialogues with architecture, form that reflects migration.

Importantly, this exhibition emphasises the shared artistic horizon of Latin American countries united by culture and exchange. In a moment when transnational art-networks are ever more crucial, the gallery’s programme and Ferrer’s participation operate as a node of connection: between artists in Brazil, Mexico, Spain and the United States; between diasporic identities and local communities; between gallery, fair and museum. The gallery’s commitment to Latin American abstraction and kinetic traditions offers a backdrop for Ferrer’s work to participate in a larger lineage of regional artistic dialogues. By presenting her ceramics at DIAF, the show becomes not only a personal statement but a collective one: art as movement, art as cultural bridge, art as community.

Through this exhibition, the gallery and the artist reaffirm a vision of Latin American contemporary art that is global, rooted and transformative. Ferrer’s ceramics thus rise in recognition not only for their formal excellence but for their capacity to speak across geographies, articulating identities in motion and building networks of collaboration among artists, institutions and nations.