Federico Herrero’s tropically coloured geometric compositions have been painted on floors, walls, parking garages and even buses around the world. Such is the widespread application that encountering these compositions as singular objects can lead one to forget how they came into being in the first place. Since Herrero began hanging his work on trees in his native of San José, Costa Rica, the enduring aesthetic of the artist’s expansive paintings continues to appear in a range of forms and permutations. On Herrero’s colourful planes, landscapes of mental processes map a chromatic and compositional subjectivity. Beginning as an encounter with a site, which could be the surface of a canvas or a public façade, the artist’s characteristic style envelopes space to force renewed understandings of distance and proximity.

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