Xavier Masero works across painting, sculpture, ceramics, video, land art, and performance. Exploring nature, time, and material transformation, he has presented works that reveal the tension between order and chaos throughout Spain and elsewhere in Europe, and in 2025 participated in Book’s Art at BI-DAMAS Gallery in Osaka. In September 2026, he stayed at Jogonin Temple with his son, Adrià Masero, to create a joint work.
Xavier Masero
Spain
⬤ Works in 2026
EL LLIBRE DE LLEVANT - EL LLIBRE DE PONENT, 2026 (ink and compressed charcoal on paper, mounted on wood / 12 panels, 80 × 160 cm each; total 960 × 160 cm / project and painting by Xavier Masero / poems by Adrià Masero / calligraphy of the poems by Naoko Nishimura)
⬤ About the Artist
The return to the origin is an impulse shared by many species, including our own. Origin does not merely mark a beginning; it accompanies us throughout the journey, offering both grounding and meaning. For Xavier Masero, this cyclical movement is not a metaphor but a method. He repeatedly retraces his steps as a way of interrogating experience and redefining direction. A multidisciplinary artist—painter, sculptor, ceramist, video artist, land artist, and performer—Masero describes himself as a curious outsider, a “viewer of things,” attentive to the subtle tensions embedded in reality. His practice has a structural clarity stripped down to essential elements. It is skeletal in its simplicity, yet deeply responsive to the organic logic of the natural world. Across a range of media, his work sustains a constant tension between static matter and expressive gesture, and between the force of geometric order and the liberating energy of chaos. Rather than presenting a complete whole, Masero focuses on fragments—partial forms that suggest growth, erosion, and transformation. Within them, spontaneous natural forces appear to resist the emptiness of existence, seeking renewal through continually changing forms and quietly challenging the law of tempus fugit: time passes. Refusing easy expression and sometimes deliberately preserving a raw quality, his work dispenses with ornament to reveal the fragile boundary between beauty and cruelty, harmony and rupture. In Masero’s worldview, origin and destination may ultimately overlap. Yet that convergence can be understood only by undertaking the journey itself—passing through matter, time, and uncertainty toward a rediscovered point of return.
⬤ Biography
1966 Born in Barcelona, Catalonia
2024 “Bodies #2” (IntoGallery / Berlin) / “Vulnus” (Galeria Bartumeus / Barcelona) / “Viatge a l’interior” (Espai Guinovart / Agramunt) / “Vincles” (Galeria Marges U / Cadaqués) / “El gran himno” (Patio de Santa Cruz / Valladolid) / “Tan cerca, tan lejos” (MUVa / Valladolid) / “Tan a prop, tan lluny” (Càntir d’artista / Argentona) / “Si proche, si loin” (Hôtel de Ville / Seix, France) / “La mar al mar” (Bergantí Sirius / Arenys de Mar) / “From Catalunya” (Centre Cultural / Ohara, Kyoto) / “Hivern” (Galeria Marges U / Cadaqués)
2025 “Book’s Art” (BI-DAMAS Gallery / Osaka, Japan)
2026 “Profà” (Centre de cultura / Cervellò) / “Duets” (BCN ARTS CLUB / Barcelona) / “REAL” (Jogonin Temple / Azuchi, Japan)