Manuel Lozano

He is a Mexican sculptor born in 1979 in the city of León, Guanajuato, where he lives and works. He began his training at the Florence Academy of Art (Italy), where he produced his first works under the guidance of renowned masters such as Robert Bodem and Simona Dolci.

This training provided him with the ontological foundation and structural framework of his contemporary practice, which stands out for its acute material intelligence and spatial engineering—qualities that have enabled him to produce large-scale works in public space.

After participating in the Biennale Internazionale dell’Arte Contemporanea di Firenze in 2003, where he was awarded in the Mixed Media category, he returned to his home country to deepen his research into materials, seeking to move toward the development of a distinctive contemporary language. He worked in the studios of Mario Pachioli and Ricardo Motilla, where he expanded his practice by engaging with materials characteristic of León’s productive environment, such as steel, marble, and bronze. Incorporating some of the most widely used industrial techniques of his city allowed him to articulate the impact of manufacturing processes alongside the profound changes he observed in his surroundings.

From that point onward, Lozano began to combine traditional sculptural techniques—such as bronze casting—with materials and finishes of a more unstable or ephemeral nature, developing surfaces that engage with technological aesthetics and contemporary debates around posthumanism, relational ethics, and the interdependence between human beings, technology, and nature.

His sculptures propose an anthropological reading of materials, bringing together artistic and industrial traditions to question how contemporary technologies shape the perception and simulation of the everyday environment. Landscape operates in his work as a critical device where organic and technological processes coexist, enabling him to challenge the flattening and synthesizing logics inherent to digital language. Symbols from his native landscape—such as the cactus, the deer, and the vulture—appear as forms subjected to processes of material reconfiguration. Within this framework, the pixel, understood as the minimal unit of digital materiality, functions as a conceptual reference to reflect on the fragmentation of visual experience and the current shifts between image and matter.

He received the Award for Best Exhibition at Art Baja (2023) for his project Anica, conceived entirely for public space. His work in this sphere was further consolidated in 2025 with the creation of a sculptural mural in bronze, weighing 450 kilograms and cast using the lost-wax technique, produced in his studio in León, Guanajuato. His work has been presented in public and private institutions in cities such as León, Monterrey, Baja California, Austin, New York, and Florence, among others. His pieces are part of the Reyma® Collection and various private collections in Mexico and the United States.