1.-
my artistic practice

Is broad and explores the radical liberation from ideologies through an authentic act of curiosity and experimentation. Through this form of rebellion, I seek to escape identity politics, popular beliefs, and social (dis)organizations without causing harm to anyone. At times, however, I am not successful—everything has already been thought, and I am pierced by an ungrateful morality. To both dissuade and confront the human condition simultaneously, I insert myself into a poetic act that involves my body, my routines, the materials I use, and multiple simulations of escape.

Man with dark curly hair and beard wearing floral jacket seated in a creative workspace with shelves.
2.-
Paintings

The works in front of you were created using color extracted from wild mushrooms that I foraged, processed, and transformed into paint. The landscapes depict buildings inspired by the architecture of Mexico City as well as the modernity of Caracas. However, they all appear wrapped in a cutaneous membrane. In this sense, skin becomes a metaphor for the histories that inhabit the cities in which I have lived. The dermis represents migrant memories colliding through (dis)connections and social chaos—quite the opposite of the fungal world, which exists through interconnected networks oriented toward collective well-being.

Painting of a deserted street lined with old buildings and shadowy figures in muted brown tones.Painting of a vintage tufted sofa in a dimly lit room with large window and stacked boxes.
the process:
a)
This is a sample of all the pigment-producing mushrooms I encountered.
Hand holding three dark purple mushrooms above a woven basket with soil and forest floor background.
Various wild mushrooms arranged on a white cloth with a mushroom guidebook and hands nearby.
Hand holding a large purple mushroom with dark gills over a basket with other mushrooms.
b)
Only some were obtained in sufficient quantities to produce paint.
Cut brown mushrooms spread on a ruler mat with a serrated knife and a white dish on top outdoors.
Various wild mushrooms in black, orange, tan, and cream colors spread on a cloth on the floor.
c)
Many tools are needed, all are easily accessible.
Metal table with kitchen tools, gloves, vinegar, pots, utensils, and people in background in kitchen setting.
Cluttered white table with kitchen scales, containers, spray bottle, blender, pen, and orange cloth.
d)
The mushrooms are cut or crushed. Some are frozen, while others are dehydrated.
Brown and orange dried mushroom pieces on a cutting mat with a metal knife top left.
Food processor bowl filled with finely chopped orange substance on a kitchen counter.
Close-up of loose, brown ground coffee beans with varied texture and small fragments.
Spoon scooping brown textured paste from a pile on white parchment paper with grid lines.
e)
Each species produces a distinct color through processes such as boiling, fermentation, or oxidation.
Hand holding a yellow container filled with dark brown coffee grounds on a white surface.
Dried woolly chanterelle mushrooms on a cutting mat with a knife and handwritten labeled bag.
f)
A bath is first prepared using the mushrooms, avoiding high temperatures to extract pigment gradually. 
Four glass jars labeled and filled with liquids and materials, placed in a hot water bath with spoons in each jar.
Three labeled glass jars in a pot with water, each with cloth bags and tongs inside.
g)
Each mushroom develops different colors depending on the acidity of its environment.
Yellow and green pH test strips on a white surface with tools and a red cloth nearby.
results:
h)
After pigment extraction using heat, precipitation techniques are applied to form crystals or salts.
Glass carboy partially filled with dark brown liquid and foam on top, on a round table.
Glass jar filled with dark liquid and sealed with metal lid on a round wooden surface.
Three glass jars on a table, one with dark liquid and foam rising inside it.
i)
The salts are filtered.
Burnt and cracked dark brown material on white parchment paper on a surface.
A sticky brown resin spread on parchment paper with a ruler above it for scale.
Square aged parchment with a large black cracked pattern resembling a spider web or dried earth in the center.
Cracked dark substance in circular pattern on stained, wrinkled parchment or paper surface.
j)
They are then ground with a mortar and combined with binding agents to create paint.
Hand with white powder marks over a glass sheet smeared with brown clay on a workbench.
A messy work surface with dark oily or muddy liquid spread over a glass panel and nearby tools and containers.
Worktable with glass plate covered in dark slime, a spatula, small containers, brush, and ceramic mortar.
k)
Color tests.
Various brown, tan, and red watercolor paint swatches with handwritten notes on textured paper.
Open plastic container with brown liquid, hair tie, and watercolor paint swatches on paper.
3.-
Ceramics

I began experimenting with clay inspired by Mexican tradition and by learning from the many professional potters based in the city. My research is guided by a curiosity to represent skin and to identify universal elements that can exist in all bodies regardless of their self-simulations. For example: nipples and anuses. I am also interested in transforming everyday objects—such as a tea infuser—into psychosexual artifacts.

Three ceramic sculptures of male genitalia in different earth tones on a peach background.
Three small ceramic objects shaped like shells, arranged diagonally on a brown surface.
Three ceramic mugs, two plates, and three small ceramic figures on a round salmon-colored table outdoors.
Three ceramic sculptures shaped like abstract bodies with polka dots on a pink surface under soft light.
Brown ceramic mug with a saucer and a coffin-shaped cookie cutter on top, casting shadows.
Terracotta table with three ceramic mugs and ceramic salt and pepper shakers in sunlight.
the process:
Unpainted clay pot shaped like a face with rectangular teeth along the opening.
Top view inside a ceramic kiln with clay pieces arranged on a circular shelf.
Hand holding a ceramic mold above a round ceramic object shaped like an open mouth with teeth.
Nine brown ceramic plates with white abstract designs arranged in a kiln with four beige ceramic posts.
Round ceramic plate with abstract white line art on a brownish-gray glaze, on an orange textured surface.
Square-shaped textured brown clay piece with deep central indentation and radiating lines.
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2.-
Resumen biográfico

Mi nombre es Miguel Centeno, soy mexicano y nací en Caracas, Venezuela. Soy un artista multidisciplinario y autodidacta, aunque he participado como estudiante u observador en los talleres de muchos artistas incluyendo el de la maestra Ana García Kobeh, José Luis Viesca, Dorian Ulises López Macías, Jaime Ortiz y muchos otros que constituyen la familia de la que he aprendido a sobrellevar mi existencia haciendo experimentos artísticos. También soy educador, fomentando diálogos intergeneracionales en mi trabajo con jóvenes.

Me gusta pensar que conjuro hechizos ciberpsicosexuales mientras reflexiono sobre mi papel en una sociedad enredada en desequilibrios. Mi práctica se basa en la potencia de las narrativas, en la libertad de crear sin permiso ni audiencias y en los ciclos de la naturaleza. 

Mi trabajo ha sido expuesto principalmente en la sala de mi casa, pero también en SS Galerie de la Ciudad de México y en la Galería UPFOR de Portland, Estados Unidos. Participé en la Feria del Libro de Arte de Brooklyn como invitado de la editorial independiente Endless Editions. Algunas de mis piezas forman parte del Archivo Librería de Cultura Sexual El Insulto y fueron parte de la exposición SEXshop: all is dildo de Salón Silicón en Kurimansutto libros, Ciudad de México. 

Recientemente participo en la producción del Cabaret Come egos que se presentará mañana 8 de febrero de 2026. Haz click aquí para más información.

4.-
Biographical Summary

My name is Miguel Centeno. I am Mexican, and I was born in Caracas, Venezuela. I am a multidisciplinary and self-taught artist, although I have participated as a student or observer in the workshops of many artists who form the family from which I have learned to navigate existence through artistic exploration; including Ana García Kobeh, Julie Beeler, José Luis Viesca, Dorian Ulises López Macías, and others. I am also an educator, fostering intergenerational dialogues in my work with youth.

I like to think of myself as conjuring cyber-psychosexual spells while reflecting on my role within a society entangled in imbalance. My practice is grounded in the power of narrative, the freedom to create without permission or audience, and the cycles of nature.

My work has been exhibited primarily in my own living room, but also at SS Galerie in Mexico City and UPFOR Gallery in Portland, United States. I participated in the Brooklyn Art Book Fair as a guest of the independent publisher Endless Editions. Some of my works are part of the archive of Librería de Cultura Sexual El Insulto and were included in the exhibition SEXshop: all is dildo by Salón Silicón at Kurimanzutto Libros, Mexico City.

Bearded man in a floral satin jacket sitting on a white metal chair outdoors with greenery behind.
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