Circles, axles, seriality, and rotation function within the numerous test drawings and graphics on paper and canvas, relatingto Orozco's development of what would later become the now iconic Samurai Tree painting series, started in 2004 in Paris.The graphic elements within this series of experiments utilize the grid and the circle to create geometric diagrams ofmovement and growth, outward from the center of the plane, evolving and developing, akin to how trees and plants grow.Recovered from the storage at his provisional studio outside of Paris (2002-2012), which was the testing ground for theseworks, Orozco shows the trials and errors together, from computer-generated images to test objects and canvases,narrating the spiralic journey of developing the series.

Since 2015, Gabriel Orozco has been living in Japan, traveling around Asia and immersing himself in a culture that hasbeen important in his work since the beginning of his practice. For this exhibition, Orozco brings together the series ofobjects, graphics, drawings, collages, and toys that he found and altered, or simply collected as models; the tests and trialsused in developing his Roto Shaku and his Obi Scrolls (both 2015), as well as his photographs and paintings made while inJapan, all of which have since been exhibited around the world. An intimate view of his working process, through thesematerials gathered from his apartment in Tokyo, proposes another segment of the Spacetime project.

For this exhibition, Orozco presents a new series of paintings (2023) based on the ideas developed in his _Diario de Plantas_series (2021-2022), in which the impressions of the intricately tangled veins of leaves are accentuated by the line drawingsof loops that recall the geometric form of the Möbius Strip. These interwoven shapes and imprints generate a dynamic ofcontinuous movement and growth. In the large-format paintings, Orozco superimposes the drawing of LeonardoDaVinci's Vitruvian Man (c. 1490), with diagrams of various plants and animals. Orozco melds these images into one,crossing representations of idealistic human proportions with anatomical studies of animals and plants, culture andnature, organic and geometric balance, and bilateral symmetry.

Gabriel Orozco was born in Jalapa, Veracruz, Mexico in 1962. Following his first exhibition in 1983, Orozco has had soloexhibitions at the Musée d'art moderne de la Ville de Paris in 1995 and 1998, Kunsthalle Zürich in 1996-97, the Museumof Contemporary Art in Los Angeles in 2000-01, the Serpentine Gallery, London in 2004, the Museo del Palacio de BellasArtes, Mexico in 2006, the Guggenheim Museum, New York in 2012, the Kunsthaus Bregenz, Austria in 2013, theMuseum of Contemporary Art Tokyo (MOT), Japan in 2015, and the Aspen Art Museum, Colorado in 2016. In 2009 amajor retrospective of his work opened at the Museum of Modern Art, New York and traveled to the Kunstmuseum Basel,Switzerland in 2010, the Centre Pompidou, Paris in 2010, and the Tate Modern, London in 2011.

In 2016 Orozco completed the permanent Orozco Garden at the South London Gallery, UK, after almost three years ofwork. A unique, sculptural work, it was his first garden design and features over fifty varieties of plants. In 2019, Orozcowas invited to design and coordinate the master plan for Chapultepec Park, an ongoing environmental and cultural projectto be finished in 2024. In February 2023 Orozco celebrated the completion of his _Calzada flotante (Floating Causeway)._Designed by the artist as a large-scale pedestrian-only bridge, it is Orozco's first architectural public project in Mexico.