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This work is an exercise in transformation. The cars, airplanes, and helicopters are arranged here with chromatic precision. I watched them invade the house for years: on the floor, under the armchairs, in her bed, in her backpack, in the shower. They were part of her world, and also of mine as an involuntary and complicit observer.
When those toys are no longer used, they don't disappear: they remain as physical witnesses of a time long gone.… But getting rid of them isn't always easy. For many—parents, siblings, even the grown child themselves—these objects encapsulate memories, routines, emotions. Throwing them away feels like a betrayal. Keeping them forever feels like a burden.
This work proposes an alternative: making art as a form of farewell. Organizing the chaotic. Giving the everyday aesthetic and symbolic value. Toys, instead of ending up in a forgotten box, become a piece that preserves the memory without stagnating it. It's a way of letting go.
Joaquín Acevedo is a visual artist whose work stems from a fundamental principle: to think and explore like a child. For him, art is not a rigid destiny, but a state of wonder where play is the artist's most serious work.
His practice eschews limiting labels, transforming ordinary materials like wood, Legos, moss, and cardboard into extraordinary pieces. This freedom has led him to explore live art, notably his participation in the Alto Sessions alongside artist Olivia García, where he fused visual creation and spontaneity in real time.
Understanding art as "pure emotion" and a bridge that needs no translation, Joaquín creates an emotional diary that connects immediately with the viewer. This universal vision has taken his work to global markets, with pieces sold in Miami, New York, Vancouver, and Kyoto, solidifying an international career that celebrates the innocence and creative power of playfulness.