Donde la materia se convierte en lenguaje.

Resina, oro, hilo, espera y mito caribeño contemporáneo.

El estudio no es backstage. Es el lugar donde el cuerpo de la obra se construye capa por capa: resina curándose, oro aplicado con bol y agua, hilo de seda cosido a mano sobre lino belga preparado.

Hoy el centro es Vuelta a Quisqueya: Ciguapa en proceso, campo cerúleo establecido, cabeza dimensional esculpida; Las piedras de Bahoruco, 2024, polímero y pan de oro de 24k sobre lienzo, memoria y herencia como sistemas vivos.

Capas con curado entre pasadas, oro aplicado a mano, en preparación para CONTEXT Art Miami.

Ciguapa work in progress in Victoria Zeder's studio — Ciguapa en proceso, campo cerúleo y cabeza dimensional.

Las piedras de Bahoruco blue polymer stones and 24k gold leaf detail — Ciguapa en proceso, campo cerúleo y cabeza dimensional.

30 frames from the studio

Where the work is made.

Hands, gold, pigment, pressure, pause.

Origin

Pigment, gold and pressure, before they become a field.

Faceless Self Portrait by Victoria Zeder installed on a white panelled wall: a netted teal encaustic sphere with a fibre crest and hanging immobilization-band tentacles, seen at an angle — 01 / 30Faceless Self Portrait, hungthe jellyfish self, read on the wall

02 / 30Painting, in profilecobalt at the canvas edge

Studio process clip: a gloved hand holding a small colourful sculptural bead up against a vivid psychedelic multicoloured painting — 03 / 30Object in hand, against coloura small form held up to the field

Studio process clip: the dark encaustic dome of Eye Sea All I on a white panel, ringed by piped cerulean and turquoise reef edging — 04 / 30Eye Sea All I, taking formthe dome ringed in its first reef

Closeup of wet acrylic in cobalt, turquoise, and amber, with a central gold disc — 05 / 30Gold center, settleda disc of gold, still wet

Touch

Hands, gloves, gold pen approaching cobalt.

Faceless Self Portrait by Victoria Zeder seen straight on: a netted teal encaustic sphere with a fibre crest and blue immobilization-band tentacles studded with gold, on cerulean canvas — 06 / 30Faceless Self Portrait, frontthe whole organism, read at once

Macro detail of clustered cobalt circles on cream canvas, gold thread visible — 07 / 30Cell, magnifiedone cluster, up close

Macro of wet paint in cobalt and turquoise with gold-leaf accents and dimensional brush layers — 08 / 30Wet layer, alivelayers still breathing

Gloved hand holding a gold paint pen, approaching a cobalt and grey painted cluster on cream canvas — 09 / 30Gold pen, approachingthe breath before the mark

Resolution

What the painting becomes when it dries.

Overhead view of Victoria sitting on the studio rug working on a fiber sculpture project surrounded by art supplies and drinks — 10 / 30Studio, at floorthe work, lived around

Detail of cluster blue circles painting showing layered translucent paint — 11 / 30Field, consideredweight measured, left to right

Cluster of cobalt circles with gold centers on the right, cyan wash and negative space on the left — 12 / 30Field, asymmetricnegative space holds its own

Faceless Self Portrait by Victoria Zeder installed on a bright white wall: the netted teal sphere with fibre crest and hanging tentacles, room and windows around it — 13 / 30Faceless Self Portrait, in the roomthe self given its own wall

Macro detail of Faceless Self Portrait: the fibre crest and white macramé netting over the teal encaustic sphere, small gold nuggets caught in the threads — 14 / 30Faceless Self Portrait, crown macromacramé over the sphere, gold caught in the net

Macro detail of Genesis surface showing hand-carved spheres bound by gold filament under resin — 15 / 30Genesis · surface texturehand-carved spheres under resin, gold filament

Macro of Eye Sea All I: the signed cerulean resin corner scattered with blue dots, the dark encaustic dome entering at the left edge — 16 / 30Eye Sea All I · signed cornerthe cerulean field, signed

Macro corner of Faceless Self Portrait: twisted blue yarn tentacle coils on a pale dotted cerulean field, gold nuggets and the artist's signature — 17 / 30Faceless Self Portrait · tentacle detailthe yarn that does the reaching

Surface texture detail of Faceless Self Portrait, encaustic sphere and mesh on cerulean — 18 / 30Faceless Self Portrait · surfacewhat restricted becomes anatomy

Macro gold leaf detail from Origin / Drift I, gold flakes on cerulean field — 19 / 30Origin / Drift I · gold leaf macrogold catching light at close range

Macro detail of Origin / Inheritance I showing silver hero sphere and satellites in cobalt field — 20 / 30Origin / Inheritance I · macrothe silver hero sphere at close range

Blue field texture detail from Origin / Mass I, clustered spheres on atmospheric cerulean — 21 / 30Origin / Mass I · blue field textureclustered spheres accumulating density

Macro from the Origin sub-series: translucent blue resin spheres of varying tone linked by a meandering gold filament across a pale cerulean field — 22 / 30Origin field · spheres on goldresin spheres strung along a gold filament

The Making

Eight passes: the hand at work.

Studio process clip: a pink-gloved hand coating a white textured sphere, more finished white spheres resting on the cutting mat — 23 / 30Spheres, preparedraw forms coated and set to dry

Studio process clip: the cobalt Origin / Inheritance panel upright on a table, a resin sphere filled with gold leaf trailing a gold filament, signed Victoria Zeder — 24 / 30Inheritance, the gilded spheregold leaf sealed inside the cobalt

Studio process clip: turquoise and blue paint piped into a reef-like ridge around the dark encaustic dome of Eye Sea All I, a brush loading colour from a cup — 25 / 30Eye Sea All I, the reef edgepiping the ridges around the dome

Studio process clip: a white sculpted relief of a human face on a white panel, small white spheres beside it — 26 / 30The face, sculpteda self emerging from the white ground

Studio process clip: close view of the dark dimpled encaustic dome of Eye Sea All I, blue and turquoise piped reef ridges around its base — 27 / 30Eye Sea All I, ridge macrothe reef tightening to the dome

Studio process clip: the encaustic dome of Eye Sea All I from a corner, beaded blue and turquoise reef ridges running along the panel edge — 28 / 30Eye Sea All I, the baseridges banding the lower edge

Studio process clip: macro of the dark encaustic dome edge of Eye Sea All I meeting its piped blue and turquoise reef — 29 / 30Eye Sea All I, dome and reefwhere the lens meets the ridges

Studio process clip: the blue encaustic dome of Eye Sea All I with white textured satellite spheres, blue centres, clustered on the cerulean field — 30 / 30Eye Sea All I, the satellitesspheres gathering at the dome's foot

Move, drag or use arrow keys. Press Enter to centre.

Every surface, one continuous thread.

I carry the legacy of the traits that work.

Donde la materia se convierte en lenguaje.

Resina, oro, hilo, espera y mito caribeño contemporáneo.

El estudio no es backstage. Es el lugar donde el cuerpo de la obra se construye capa por capa: resina curándose, oro aplicado con bol y agua, hilo de seda cosido a mano sobre lino belga preparado.

Capas con curado entre pasadas, oro aplicado a mano, en preparación para CONTEXT Art Miami.