Spinello Projects is pleased to present Still, moving, a group exhibition of paintings by Miami-based artists Nicole Burko, Dionnys Matos, Ernesto Gutiérrez Moya, and David E. Olivera, alongside Colombian-based artist Nicolás Beltrán. This exhibition marks the first occasion on which all five artists present work with the gallery.

In Still, moving water is not a singular subject but a shifting presence — at once elemental, psychological, architectural, and spiritual. Across distinct practices and perspectives, the exhibition unfolds as body, boundary, memory, and horizon. Water appears suspended, yet never static; contained, yet never fully held.

For Nicole Burko (b.1987, Toronto, Canada), water is a site of physical and existential encounters. Drawing from her experiences freediving into underwater caverns in a single breath, her immersive oil paintings navigate thresholds between desire and dread, intimacy and mortality. Depth becomes both a literal space and a psychological terrain — a place where stillness heightens awareness and movement becomes survival.

In the work of Ernesto Gutiérrez Moya (b.1995, Havana, Cuba), water emerges through architectural memory. His recurring fountains function as metaphysical anchors — symbols of permanence shaped by impermanence. Formed in the context of growing up in Cuba, these suspended structures hold emotional narratives that feel sensed rather than seen. The fountain, endlessly circulating yet fixed in place, embodies the paradox at the heart of the exhibition: water choreographed, but never entirely controlled.

For Dionnys Matos (b.1991, Holguín, Cuba), the sea embodies duality — nourishment and destruction, promise and rupture. Rooted in the cultural and spiritual presence of Yemayá, the ocean becomes a living force of renewal. Each wave carries both ending and beginning, suggesting that movement itself is a form of continuity.

Meanwhile, Nicolás Beltrán (b. 1992, Ibagué, Colombia) allows water to become the protagonist. Inspired in part by the immersive color fields of Mark Rothko, his monumental shaped-canvas painting pursues dilution and expansion — moments in which perception slows and the visible world opens into contemplation. Rendered at a life-size scale, the work envelops the viewer, allowing motion to quiet into atmosphere.

David E. Olivera (b.1983, Granada, Nicaragua) translates maritime imagery into compositions that oscillate between abstraction and detail. Drawing from subconscious impulse and deliberate observation, his paintings embody collective memory and coastal histories. Movement becomes both physical and emotional — a reflection of freedom, curiosity, and the pull of the horizon.

Together, these works present water as more than scenery or motif. It is a condition of being — fluid, transformative, alive. Whether encountered through the body, architectural memory, spiritual devotion, or abstraction, water becomes a vessel for reflection and connection. In holding motion within the stillness of paint, Still, Moving invites us to consider how transformation is not always visible, and how even the quietest surface carries depth beneath it.