LA Art Show 2026: Kate L. Stern interviews Mexican artist Pieri on the presentation of Life in Tones × The Guardian

Precisely because of that. LA Art Show is a place with a lot of visual stimulation, noise, people passing by all the time. It seemed like the perfect setting to talk about the opposite: the home, calm, refuge. Everything here moves fast, but my works speak of that moment when you step out of all this and return to your safe space. I like that contrast. Seeing someone rush past the fair and suddenly stop in front of my piece, slow down, stay and look... that for me is already part of the work.

They are two distinct expressions of the same message. Neither is more important than the other. Desert Flame has a warmer, more intense energy; Moon Light is quieter, more contained. Both function as a reflection of different emotional states. The idea was never for one to dominate, but for each person to identify with one of them according to their history and their space. Even within this collection there are more editions, but due to logistical and space issues at the fair, I could only bring these two editions.

Life in Tones is the pulse of life. The canvas in the back represents everything we experience outside: movement, noise, decisions, changes. The free brushstrokes, textures, and splatters speak of those intense stages we all go through. In front of that appears The Guardian, the bear sculpture, placed at the forefront as a symbol of protection. It is not there to compete with the painting, but to balance it. It is calm facing chaos. The two pieces can exist separately, but when they come together, they tell the complete story: how the home orders us after an intense day.

The color card is a pause. Within all that movement and those layers that speak of the intense rhythm of life, I needed a point where the gaze could rest. It is clarity. That moment when everything aligns a bit.

But it also fulfills another important function: it helps me unify the entire work. The painting, the sculpture, and the pedestal are made of completely different materials, and getting them all to share the exact same tone is not easy. Over the years I have learned to work color consistently on canvas, resin, and wood, and the color card becomes the point of reference so that everything dialogues with each other.

In the end, a single tone unifies the complete piece. It makes everything feel connected, like a single story.

Because it is universal. For many of us, the first object that gave us security was a teddy bear. That toy that was there when we were children, when the night felt big or when fear appeared. The Guardian takes that collective memory and transforms it into sculpture. It is not a childish bear, it is a guardian. A silent presence that protects the space.

It has been very nice. I am physically at the fair today; I have used the rest of the week to explore Los Angeles for the first time and soak up the city. Even so, the collective I participated with has constantly been sharing the public's comments and reactions with me.

Several people have commented that, in the middle of the fair, the work feels like a breath of fresh air. One of the comments that resonated most with me was: "There are many incredible pieces here, but this is the only one I immediately imagined in my home." Another collector mentioned that they did not perceive it as merely decorative, but as a work they wanted present in their daily life.

That is exactly what I am looking for. I do not make art just to look good on a white wall; I make art to accompany people.

Absolutely. From the beginning, I was clear that this was not a collection designed for excess. I wanted to achieve a balance between the abstract and the minimalist, and when I found that point, the result was very clear.

It is designed for families and for spaces that are truly lived in. For people who see their house as a refuge, not just a place where they live. Parents, couples, people who understand that home is not only a physical space, but also an emotional one.

I have other collections that dialogue more with the energy of power, luxury, or the extroverted. This collection is not about that. This one is more intimate, closer, and is born from the idea of protecting what really matters.

Pieri Gallery is the way I share my work with the world. It is the name under which I publish, exhibit, and present my works. I am here at the fair as a guest artist, but Pieri Gallery is the platform that connects my work with those who follow it and experience it outside of these spaces.

In fact, there is a curious fact that not many people know. My name is Fernando Sampieri, and the last letters of my surname are Pieri. That is where my signature as an artist was born. Over time, that name became consolidated and ended up also becoming Pieri Gallery, which is the way I decided to present and gather my work more formally. It was not planned from the beginning; it was a natural process, just like the evolution of my work.

A lot of clarity. Walking the city, visiting museums, neighborhoods, and architecture always nourishes the work. It makes me want to return. Los Angeles is a very pleasant city to observe and explore without rushing. It is large, but at the same time very open, and the people are very kind. Also, I was surprised by the number of Latinos here.

That home and family are the only thing that truly sustains you against the outside noise.

And when I speak of outside noise, I am not referring to something literal, but to everything we carry day to day: responsibilities, constant decisions, uncertainty, the rhythm the world forces you to live at.

This collection is born from there, from the need to have a place where all that stays outside and you can return to what truly matters.