Pablo Llana 1980. Born in, and living and working in the City of Tijuana, Baja California, Mexico.

Pablo Llana.

Diploma Courses in plastic arts at Casa de la Cultura de Tijuana [Tijuana House of Culture].

From 2000 to 2002 he was a student of the “Programa de Profesionalización Artística para Artistas Visuales” (PROPAVIS [Artistic Professionalization Program for Visual Artists]) taught at the “Centro de Humanidades de Baja California”, with support from CONACULTA, that included distinguished artistic and professional teachers such as: Felipe Ehrenberg, Carmen Mariscal, Pablo Camacho and Cristina King Miranda, Olga Margarita Dávila, among others. He has participated in more than 20 local and international collective expositions.

Among his most recent individual exhibits are “MOUTHFUL” at the Instituto de Artes Graficas de Oaxaca, “Yo código comunidad [I, Community Code]” at the Centro Cultural Tijuana, and among the collective ones are “Obra Negra. Una aproximación a la construcción de la cultura visual de Tijuana "Black Work".

An approximation to the construction of visual culture of Tijuana]” at the Centro Cultural Tijuana, “Tijuana Makes Me Happy. Multidisciplinariedad en la Frontera [Border Multi-disciplinarities]” at the Mexican Consulate in Los Angeles, California, and “La Frontera [The Border]” at the Art Virus Ltd., Gallery in Frankfurt, Germany.

He has obtained honourable mention at the XII Bienal Plástica de Baja California (1999 [Plastics Biennial]), 13va Bienal de Artes Visuales del Noroeste (2011 [Northwest Visual Arts Biennial]), 5ta Bienal Nacional Miradas (2012 [National Glances Biennial]), 14va Bienal de Artes Visuales del Noroeste (2013 [Northwest Visual Arts Biennial]) and first place at the 6ta Bienal Nacional Miradas (2014 [National Glances Biennial]), his works are found in national and international collections.



Since the year 2010 my work revolves around the capitalism-consumerism and obesity-identity binomials, as viewed from the micro or, as well the personal.

Pablo Llana.

Using the wrappers of junk-food products as raw material, I point towards a political reflection, by tightly joining the critical and social senses.

The result: pieces rich in texture, whose colour palette comes from the plastic discards of poor nourishment; individual consequences of globalization and without doubt one of the scourges of the 21st Century.

Within my vision, in the global scenario there arises a future that points to the uneven conditions between health and the mass-production corporations, were social innovation and the benessere seem to be based on a cosmopolitan focus in the big-city, which, despite having a higher civilizing-technological development, continues to suffer such basic deadweights as housing, health, and human rights.

It is well worth saying that the great junk-food store chains and “big-city” lifestyles, that in modern times have come to be understood as an improvement for humanity, blind the individual in the face of junk-food industrial corporations and massive unintelligent consumerism.

We are victims of the out-of-proportion consumerist society.


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