Benito García (Mexico City, 1999) is a visual artist and architect whose practice unfolds at the intersection of figurative painting, spatial theory, and the exploration of the sacred as an aesthetic and cultural category. From an early age he built his visual language autodidactically, drawing from visionary architecture — M. C. Escher, Giovanni Battista Piranesi — to develop a realism that does not replicate the world but questions it.His research centers on the concept of the temple: not as a building, but as a structure of meaning. From a simultaneously architectural, anthropological, symbolic, and poetic perspective, his work explores how societies construct spaces to hold what cannot be named — the sacred, the collective, the sublime. This inquiry runs through his oil paintings on linen, charcoal drawings, and ceramic work, media that allow him to move between monumental scale and intimate gesture.In 2025 he presented Límites del Templo (Limits of the Temple), his third solo exhibition, at Galería Libertad, Querétaro — a body of work that interrogates the physical and symbolic limits of devotional architecture, integrating painting, ceramic sculpture, and drawing into a single proposition.He has exhibited collectively in Mexico and Italy, with work shown at Rossocinabro Gallery and Galleria Cael (Rome and Milan), as well as at national contemporary art venues including BADA Artfair, Filo: Salón de Arte Contemporáneo, Clavo Artfair, and the Museo de Arte de Querétaro. In 2020, his work Cuarentena was selected for the 85th edition of Punto en Línea, UNAM's literary and visual arts journal.His work is in dialogue with Gastón Bachelard, François Cheng, Bernard Tschumi, and Juhani Pallasmaa — references that are not cited but inhabited: built from within, the way one raises a space before naming it.
Benito García (Mexico City, 1999) is a visual artist and architect whose practice unfolds at the intersection of figurative painting, spatial theory, and the exploration of the sacred as an aesthetic and cultural category. From an early age he built his visual language autodidactically, drawing from visionary architecture — M. C. Escher, Giovanni Battista Piranesi — to develop a realism that does not replicate the world but questions it.His research centers on the concept of the temple: not as a building, but as a structure of meaning. From a simultaneously architectural, anthropological, symbolic, and poetic perspective, his work explores how societies construct spaces to hold what cannot be named — the sacred, the collective, the sublime. This inquiry runs through his oil paintings on linen, charcoal drawings, and ceramic work, media that allow him to move between monumental scale and intimate gesture.In 2025 he presented Límites del Templo (Limits of the Temple), his third solo exhibition, at Galería Libertad, Querétaro — a body of work that interrogates the physical and symbolic limits of devotional architecture, integrating painting, ceramic sculpture, and drawing into a single proposition.He has exhibited collectively in Mexico and Italy, with work shown at Rossocinabro Gallery and Galleria Cael (Rome and Milan), as well as at national contemporary art venues including BADA Artfair, Filo: Salón de Arte Contemporáneo, Clavo Artfair, and the Museo de Arte de Querétaro. In 2020, his work Cuarentena was selected for the 85th edition of Punto en Línea, UNAM's literary and visual arts journal.His work is in dialogue with Gastón Bachelard, François Cheng, Bernard Tschumi, and Juhani Pallasmaa — references that are not cited but inhabited: built from within, the way one raises a space before naming it.