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1980, Buenos Aires,  Argentina






Hypothesis  | 2017 - 2019

Hypothesis is an intrusion process into organic matter. After investigating craft processes of manufacture and conservation, this series testifies the entrance in biolabs to study the DNA of wood, the DNA of trees.

Each of these hypotheses is an attempt to think about our way of approaching and knowing nature (specifically wood). The tools are no longer handcrafted but scientific and include computer technology and laboratory machines.



Disarticulations and Fragments | 2015 - 2016

Disarticulations is an attempt of furniture taxonomy. In this series, the object´s materiality  and the traces of the craft are stripped away. The organic elements that we extract from nature for conservation purposes are highlighted.



Interfase | 2015

Decoding and practicing a way of using things is mediated by a society in a given time, however it is also interfered by our own subjectivity that leads us to articulate them in space, to mark them in a particular way.

The Interfase series works with the function that when disarticulated becomes paradoxical and ironic.


This 19th century kneeler and an egg chair  assemble allows interaction between two people. One kneeling and the other sitting to heard a confession. 

Prayer stool, fragments of furniture, acrylic paint,  quartz
63 X 31,5 X 47,5 IN

Boudeuse (Confidence / Indiscret)

The Boudeuse is a typology emerged in the Victorian period. In this context, where salons and social life proliferate, these armchairs emerge as a counterpoint. The particular shape encourages a close, intimate dialogue between two people. 

This piece was selected for the Young Artists Award by the Williams Foundation (Buenos Aires, Argentina)

2 berger, brocato, PVC
110,2 X 110,2 X 70,8 IN


Two people may look at each other through the hole that links the drawers of this storage cabinet.

Selected for the 10th U.A.D.E. Visual Arts Competition 2015
(Universidad Argentina de la Empresa, Buenos Aires)

Louis XV style bombe table, supports of different styles of charred leg furniture and felt.
39,3 X 31,4 X 67 IN




ACCUMULATIONS | 2013 - 2015

This serie is led by excess. The proposal is a new relationship between ornament functionality, craft and typology.

Accumulations is the result of the study of period furniture and the passage through specialized craft workshops in different areas such as cabinetmaking, marquetry or inlay.


The poudreuse is a type of female vanity developed in the eighteenth century, in the court of Louis XV. Its name means "dust" and refers to the white face powder used at the time as makeup, women also placed in this cabinet all belongings related to female toilette and perfumes, combs and oils. During the eighteenth century women made this time a social event in which they could receive the most diverse visits. This typology is closely linked to luxury, frivolity and fun spirit of the age

The furniture used in this piece is a reproduction of circa 1930 by a European immigrant cabinetmaker in Argentina.


Jeliza Rose is the girl protagonist of the film "Tideland" (Terry Gilliam, 2005). Jeliza is a girl living in an oniric and macabre world. Her only way to survive is to mutate that horror in her logic, living the most terrible things as normal. 

The cabinet is a typology emerged with the purpose of storage and exhibition of the collections in the sixteenth century. 


A 19th century German piano was completely dismantled to be assembled with the mid 20th century French style piece of furniture from. All the mechanisms that were used to create the sound were dismembered, re located, and recontextualized. 

Alluding to the mechanical and transformation furniture of the 18th century, we find drawers whose opening is only possible through the operation of a crank and hidden cavities that are only discovered by manipulating the piece. The piano's serial number is found inside, which we can access through the binoculars.


The role of the femininity is raised in this piece through the objects that inhabit it and contradict each other. A fragmented vision that is completed in the imagination of the viewer to test their own idea of the femininity.





10/20/16 - 11/25/16

A passage to the abstraction of the senses.  

Conformations: Sabrina Merayo Nuñez´s exhibition in Gachi Prieto Contemporary Art.  

Knowledge is locked with them

not by representation

but by affective pollution

Felix Guattari, Chaosmosis
Sabrina Merayo Nuñez borrows from the stage and the laboratory the particular ways that her objects exhibit. We see the minimum required number of parts to establish a hypothesis of the human gesture that intersects matter. The pieces are strong enough to stand on their own and the imprint of work done on them appears as a single argument. Isolated and reunited, the pieces are distributed in the space surrounded by silence, this being the best appearance of meaning. The presentation of forces is replicated from the theatre stage (like in the encounter of the protagonist and the agonist in it or like in the projection of the actor's voice to his audience), the difference lying in that here the bodies are materials in a concrete state rather than figurative and what we see are brief scenes frozen in time: resistances of the material, mutations to which they were subjected, processes suspended halfway to becoming something else; ultimately tests and displacements. From the lab, not only we recognize the way in which the object is approached and analyzed in its parts, we can, above all, recognize that each piece is a sample obtained at the artist´s workshop between tools and books, between objects to disarm and works to be finished.

By using its own collection of materials from the world of furniture, Merayo Nuñez makes a type of inventory that associates the artistic gesture with a philosophical perspective in the particular context of the gallery´s white cube; she focuses on operations that were used to change the matter before the norm was the industrialization of the object. Here the artist acts as a collector and alchemist: she removes objects from their source of origin and inserts them into that space to appear seemingly neutral like the museum aesthetic that adds aesthetic value and an appropriate distance from the utilitarian world. In this territory of the poetic the viewer is invited to read each form with tactile eyes, to walk to the meeting of materials given in the pieces and to pay attention to the tensions, to that which gives and which vibrates in those abstract relations. These conformations can be read as haiku, for their brevity and for evoking an instant.  Their reading is primarily a passage to the abstraction of the senses.

The artist displays a collection of works that account for the relationship between humans, ideas and the objects present in the dramas of our own history read through the furniture and the ornament. There is a universal force in the practice of Merayo Nuñez, applicable to the metaphor of the machine: the exposure of its parts, their relationships and the notion of their limits before the whole set that may appear opaque to the user; this to make visible what usually appears invisible. What is the syntax of an object? How many ways are there to combine and arrange a set of materials? What happens when those same materials, forced by the power of the work applied to that matter, are directed towards new states? These are some of the questions that might have guided the work done in Conformations. It is fair to say that there is research on how objects and materials are given different roles and meanings over time and different cultures until they reach our present; in this case, the artist dismantles and rearranges them to be able to find other powers in those relationships. Small powers, brief meeting instants that divert the natural course of our relationship with them and propose a way of being in the world differently or at least, more awaken, more alert.


Mariana Rodriguez Iglesias
Nuñez, Spring 2016





Sabrina Merayo Núñez (Tierra del Fuego, Argentina, 1980)

Wood has become Sabrina Merayo Núñez's starting point when making sculptures and installations. She has been investigating different wood craft processes (cabinet making, carving, inlays) and the organic substances used for its conservation. Some years ago, she became interested in the biological processes of trees, focusing on how technology influences our relationship with nature.

Due to her interest in Bioart, she has been working with DNA extraction from different tree species and its comparison with the human genetic code. Additionally, in her artistic installations, she involves mixed media such as laboratories samples, notes, records, drawings and sculptures.

Merayo Núñez has studied Visual Arts at Universidad Nacional de las Artes and the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. Additionally, she studied Fine Arts at Universidad de Buenos Aires and Art Valuation at Universidad del Museo Social Argentino. In 2015, she was selected to participate in the annual program for artists Proyecto PAC of Galería Gachi Prieto 

She featured her work in national and international exhibitions held in numerous institutions such as:  Museo de Bellas Artes de Houston (Texas, United States);  Euroamerica Gallery (New York, United States); Galleria Don Chisciotte (Rome, Italy); Galería Gachi Prieto (Buenos Aires, Argentina) and Perotti Galería (Buenos Aires, Argentina), among others. 

Regarding  awards and recognitions, she participated in the XX Fundación Klemm Visual Arts award (Buenos aires, Argentina, 2016); Itaú Cultural Visual Arts Award (Buenos Aires, Argentina, 2016); William Foundation Award (Buenos Aires, Argentina, 2015); UADE National Visual Arts Contest Buenos Aires, Argentina, 2015) and she also received a Honorary Mention in the Andreani Visual Arts award (Buenos Aires, Argentina 2015). 

In 2019 she was selected to be part of  the Artistas Latinex NYC Creative Capital Workshop, and, in 2018, she developed  her project Humans as trees in the Coalesce Center for Biological Arts, University of Buffalo (New York, United States). In 2017, she participated in the Bioart Residency of the School of Fine Arts in New York, United States

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