Sculpture as a Portal to the Unknown: The Art of Maria Torcello

Maria Torcello

Influenced by Jung, Argentine artist creates organic forms that reveal hidden aspects of the human soul

Argentine sculptor Maria Torcello, born in Buenos Aires, has dedicated more than 28 years to creating works that seek to materialize the invisible. Self-taught, the artist builds her trajectory through organic forms and primordial symbols, in an unceasing quest to spiritualize matter and reveal unknown aspects of the human soul. Represented by OdA Gallery in Buenos Aires, Torcello has works in private national and international collections and has accumulated distinctions in art salons and prestigious awards in Argentina.

The artist defines her work as an attempt to create bridges between different planes of existence. According to her artistic statement, a work of art has the power to transform human beings, discovering in its presence aspects we don’t know about ourselves. “I put my soul into a quest to spiritualize matter,” Torcello states, seeking to ensure that the content of her sculptures reveals the unknown and brings observers closer to that fundamental reality in the depths of being.

Influenced by the theories of Swiss psychoanalyst Carl Jung, Torcello works with symbolic and ancestral images, touching aspects contained within the human soul. The sculptor believes in the existence of an intermediate realm between the unity and solitude of the individual soul and the multiplicity of the universe, representing the world in the soul and the soul in the world. Through movement and the synthesis of form, she seeks to create spaces that connect the public with the mysterious, invisible, and infinite, in an attempt to perceive a glimpse of the absolute.

Training and Artistic Development

Although self-taught, Maria Torcello went through important formative processes throughout her career. In 1997, she attended drawing workshops with live models and sculpture, focusing on modeling and plaster, at Estímulo de Bellas Artes. The following year, she studied at Malena Trosolino’s workshop, working with modeling, plaster, and cement, in addition to completing two years of studies at the National University Institute of Arts (IUNA).

Between 1999 and 2003, the artist specialized in direct wood carving at Jorge Gamarra’s workshop, a technique that would become fundamental to the development of her sculptural language. This diverse training allowed Torcello to master different materials and techniques, expanding her expressive possibilities.

Monumental Works and Public Interventions

In recent years, Maria Torcello has expanded her work into the field of monumental works and large-scale public installations. In 2025, the artist created “Infinite Love,” a monumental bronze sculpture installed at the Oceana development in Nordelta for the company Consultatio S.A. The work reflects the sculptor’s quest to express universal concepts through three-dimensional form.

In 2024, Torcello developed “Between Heaven and Earth,” another monumental bronze work, this time for the Bellatrix Foundation in San Antonio de Areco. The sculpture materializes the artist’s obsession with creating bridges between different dimensions of existence, a recurring theme in her production.

**“Entre el cielo y la tierra”** **(Between Heaven and Earth)**

In 2019, the sculptor created the public installation “The Fountain – Cosmic Rays” in the city of Baradero, Buenos Aires province, located at Prefecture Square on the Paseo del Puerto. The public work demonstrates Torcello’s interest in taking her art beyond traditional gallery and museum spaces, engaging directly with the public and urban space.

Solo Exhibitions and Critical Recognition

Maria Torcello’s trajectory includes important solo exhibitions that consolidated her presence in the Argentine art circuit. In 2023, she presented “Origins,” curated by Irene Gelfman, at OdA Gallery. Six years earlier, in 2019, she held “Parallel Existences,” curated by Julio Sánchez Baroni, along with a tribute to Jorge Michel, also at OdA Gallery.

“Origins,” curated by Irene Gelfman, at OdA Gallery

In 2014, the artist exhibited “In Search of Unknown Knowledge” at Rubbers Internacional Gallery, alongside Cecilia Ivanchevick. But it was in 2013 that Torcello held her first major solo exhibition: “Vacuities,” presented in room 11 of the Recoleta Cultural Center, curated by Alberto Elia. The exhibition marked a turning point in her career, consolidating her sculptural language.”Origins,” curated by Irene Gelfman, at OdA Gallery

Participation in Group Shows and Art Fairs

Maria Torcello’s participation in group exhibitions is extensive and reveals the breadth of her insertion in the art world. In 2025, she is part of “Total Work,” at OdA Gallery, curated by Laura San Martin, and “Sculptures for Victoria,” promoted by the National Endowment for the Arts at Casa Victoria Ocampo. In 2024, she participated in “How Much Does Love Weigh?,” curated by Daniel Fischer, at the Recoleta Cultural Center.

In 2022, the artist was present at important events such as the ARTEBA fair, in the main section with OdA and Otto galleries, and at the MAP fair, also in the main section with OdA Gallery. That year, she was a special guest at the International Salon of Contemporary Sculpture at the Borges Cultural Center, curated by Alicia Cunto and Tutti Araujo.

Also in 2022, Torcello participated in the exhibition “From Floor to Ceiling – Homage to Alejandro Vautier,” curated by Eduardo Stupia at Cecilia Caballero Gallery, and was part of the Triennial of Architecture and Urbanism of the province of Buenos Aires in Chivilcoy.

Awards and Distinctions

Recognition of Maria Torcello’s work materializes in various awards and selections in prestigious salons. At the 69th Manuel Belgrano Salon, her work “Queen of Hearts” was selected for exhibition at the Sívori Museum. In 2024, she received a special mention from the jury of the Chomer Award, composed of Ivan Chomer, Damian Vinson, Florencia Battiti, and Sebastian Vidal, for the project “Möbius Band.”

In 2018, the work “The Lovers,” from the Holos series, was selected for the Manuel Belgrano Visual Arts Salon, and “Trinity,” from the same series, participated in the exhibition “An Imagined Community,” curated by Eduardo Stupia, shown at the National House of the Bicentennial. The work was part of the visual arts contest of the National Art Fund.

The artist also had her work “Unity” selected for the 106th edition of the National Salon of Visual Arts in 2017 at the Palais de Glace, and “From Nothing to Nothing” chosen for the XIII Junín Visual Arts Salon in the same year. In 2014, she participated in the 103rd edition of the National Salon of Visual Arts with “The Eye of the Spirit.”

Among other distinctions, Torcello received an honorable mention at the Bonifacio del Carril Stimulus Award, granted by the Academy of Fine Arts at the Recoleta Cultural Center, and an honorable mention at the 2006 Argentine Visual Arts Award from the OSDE Foundation. Her work “Homage to Hernán Figueroa Reyes” was declared a Monument and Artistic Heritage of the City of Baradero.

Philosophy and Working Method

Maria Torcello’s production is based on a tireless search for truth, unity, beauty, and harmony, seeking to reveal the divine nature of human beings. The artist works with the premise that a work of art places the observer in a perspective of reality never before observed, revealing small veils that lead toward truth and self-knowledge.

Her studio is located in Barrio Colonia Suiza, on Route 41, in Baradero, Buenos Aires province, where the sculptor develops her work away from urban hustle. OdA Gallery, located at Paraná Street, 759, first floor, in the San Nicolás neighborhood of Buenos Aires, commercially represents the artist under the direction of Laura San Martin.

With a solid career built over nearly three decades, Maria Torcello has established herself as one of the relevant voices in contemporary Argentine sculpture, remaining faithful to her quest to spiritualize matter and create bridges between the visible and invisible through art.