Agustina del buono

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Agustina Del Buono lives and works in Madrid. Born in Argentina, her practice emerges from the experience of immigration as a lived and ongoing process — one that reshapes identity, memory, and the sense of belonging.

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© Cayce Pollard. All rights reserved.

Resistance

Acrylic, cement, gesso, wood base, marble, collage and rope · 133 × 103 cmResistance emerges from one of the most demanding stages of the immigration process: the moment when time stops being yours. Days collapse into each other. The city moves at a pace that doesn't ask permission — and you move with it, not always knowing where you're headed or whether you'll make it.The painting holds that tension. The reds push forward with urgency, almost violence. The blacks pull downward, heavy with exhaustion. The white lines run across the surface like thoughts that won't slow down — like the internal voice that keeps saying keep going, keep going, even when the body asks for a pause.Resistencia is not about breaking. It's about the strange, relentless act of continuing anyway.

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Appropriation / Belonging

Acrylic, gesso, wood base, marble, collage, rope and cement · 92 × 65 cmAppropriation / Belonging captures the quiet but profound moment when a foreign city stops feeling foreign. There is no single event that marks it — it happens gradually, almost without noticing. One day you walk without checking the map. The streets begin to carry your footprints. The language stops sounding like noise and starts sounding like home.The painting reflects that slow settling. The deep greens and blues of the left side carry the weight and density of something that has taken time to build — layered, textured, rooted. As the eye moves right, the surface opens: warm ochres and sandy tones emerge, lighter, more breathable. The collage fragments embedded in the work speak of things absorbed, of a city that has left its mark on you as much as you have left yours on it.Apropiación / Pertenencia is not about erasing where you came from. It's about discovering that you are capable of belonging to more than one place at once.

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Immigration and Reconstruction

Gesso, cement, acrylic and collage · 60 × 90 cm
— Sold. Arrival Gallery, Madrid, May 2026Immigration and Reconstruction speaks of the first and most disorienting stage of leaving: the survival instinct that kicks in before you even have time to feel. A new city demands your full attention — logistics, language, orientation — while the life you knew recedes into the distance, becoming something you observe from the outside rather than live from within.The work holds the quietness of that period. The muted tones and layered surfaces reflect a turning inward — an introspective time when the most urgent question is no longer where am I but who am I now. The cement gives the piece its weight, its solidity; the collage fragments speak of identity pieced together from what remains and what is slowly being built anew.Inmigración y Reconstrucción is about the beginning of becoming someone you haven't met yet.This piece was acquired at Arrival Gallery, Madrid — May 2026.

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Shared Solitude

Diptych · Acrylic, gesso, wood base, marble, collage and rope · 81.5 × 100 cm each panelShared Solitude captures one of the most paradoxical moments of immigration: the one where you are never truly alone, yet solitude lives permanently inside you. The new city asks you to show up — to meet people, to build connections, to navigate relationships with those who come from entirely different places and histories. The exterior is full of noise. And yet, beneath all of it, there is only silence.The diptych form itself speaks to this duality. Two panels, side by side — present to each other, yet each holding its own world. The muted pinks and mauves carry a tenderness that is also fragile; the deep burgundies and blacks speak of what cannot yet be shared with anyone. The collage fragments embedded in the surface — pieces of text, of printed matter — suggest the voices and stories of others absorbed into your own skin, present but not yet fully understood.Soledad Compartida is about learning to be among people while still finding your way back to yourself.

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What Is Already Mine

Leaf, acrylic, cement and collage · 53.5 × 41 cm (framed)What Is Already Mine continues the dialogue opened in Apropiación / Pertenencia, but arrives at a quieter, more settled place. If that earlier work captured the process of adapting, this one captures what comes after — the moment when there is nothing left to claim, because it already belongs to you.The leaf embedded in the surface is not decorative. It is evidence: something living, something that grew in this city, absorbed into the work the same way Madrid has been absorbed into you. The cement holds it in place — permanent, unhurried. The collage layers beneath speak of accumulated time, of all the ordinary days that, without announcing themselves, became yours.This is not a dramatic work. It does not shout. It is the painting of a Sunday morning when you wake up and realise, without fanfare, that you are home.

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Noise / Saturation

Acrylic, gesso, wood base, marble, collage and rope · 72.5 × 91 cmNoise / Saturation marks the beginning of a new series centered on communication — or rather, on its breakdown. This first piece speaks of a mind that never stops: thoughts that circle without landing, words that form but never reach the surface, an internal monologue so dense it becomes suffocating.The black line at the center of the work is the visual manifestation of that spiral. It loops and overlaps, building on itself until it becomes a mass — contained, yet on the verge of collapse. It is at once a scream and a silence: everything happening inside, nothing making it out. The textured background of pinks, mauves and greys pulses beneath it like a life still going on underneath the noise — evidence that there is something there, underneath all of it, waiting to be heard.Ruido / Saturación is not about chaos for its own sake. It's about the exhaustion of carrying a mind that won't let you rest — and the strange loneliness of being full of words that belong to no one but you.

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Confluence

Acrylic and gold leaf on paper on canvas · 60 × 90 cmConfluence is a work about flow — about what happens when different forces, colours and energies meet without trying to dominate one another. There is no fixed centre, no hierarchy. Blues and turquoises expand freely across the surface, while reds and ochres hold the upper edge with a quieter, warmer presence. Gold leaf catches the light in unexpected places, like glimmers of something luminous breaking through.The watercolour-like quality of the acrylic gives the piece a sense of movement that feels unforced — as though the colours found their own way to each other. Nothing is contained. Everything is in the process of becoming.Confluence invites the eye to wander, and the mind to follow.

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Threshold

Acrylic and gold leaf on canvas · 100 × 81 cmThreshold is a painting about the moment before. Not the arrival, not the departure — the suspended instant in between, where everything is still possible and nothing has yet been decided.The surface breathes in warm pinks, oranges and mauves that dissolve into one another without edges or borders, like a sky that cannot decide what colour it wants to be. There is no tension here — only warmth, and a quiet sense of anticipation.The gold leaf arc rises from the lower left and curves upward, but does not close. It is not a circle. It is a gesture — something reaching, something in motion, something that has not yet found where it ends. That incompleteness is intentional. A closed arc would be a boundary. An open one is an invitation.Threshold asks you to stand at the edge of something and feel, for a moment, the beauty of not yet knowing what comes next.

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Ignition Point

Acrylic and collage on canvas · 41 × 33 cmIgnition Point is a work of pure intensity. The entire surface burns in deep, unapologetic red — not a background, but a presence. A force. There is no softness here, no gradation toward calm. The red is the work.At the centre, a fragment of printed paper tears through: the word aire — air — circled in gold, isolated, almost clinical against the heat that surrounds it. The contrast is the tension. Air, named and enclosed, inside something that consumes it. The gold circle does not protect what is inside — it marks it, like something identified, something found in the middle of the burn.Ignition Point is about the kind of intensity that leaves no room to breathe — and the strange clarity that comes with it.

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Migration

Acrylic, gold leaf and sawdust on canvas · 60 × 60 cmMigration is a painting about movement — collective, instinctive, unhurried. Four formations of sawdust and gold leaf drift across the horizon line, suspended between a warm earth below and a vast, atmospheric sky above. They belong fully to neither. They are in transit.The painted surface breathes in layers of rose, mauve and deep burgundy — a landscape that feels both ancient and tender. The horizon does not divide so much as it holds: a thin membrane between two states of being. And across it, these small, dense clusters travel from left to right, diminishing as they go, as though perspective is pulling them toward something just out of frame.The sawdust gives each formation a physical presence — texture, weight, shadow — against the softness of the painted ground. The flecks of gold catch the light quietly, without announcing themselves.Migration does not ask where things are going. It simply watches them move.

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Barely There

Acrylic and gold leaf on paper · 39 × 29 cmBarely There is a work about presence at its most fragile. The surface dissolves in layers of pale rose, mauve and soft teal — colours that barely announce themselves, that hover at the edge of visibility. Nothing insists. Everything suggests.Three gestures of gold leaf punctuate the composition without connecting: a horizontal stroke to the left, a vertical mark rising through the centre-right, a fragment at the edge. They do not form a pattern — they simply coexist, like thoughts that surface briefly and drift away before they can be held.The thin pink line that rises vertically is the only moment of definition in an otherwise atmospheric work. It does not explain itself. It simply stands — quiet, precise, alive — inside all that softness.Barely There is about the things that are present without demanding to be seen. The details that only reveal themselves when you slow down enough to look.

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About

Agustina Del Buono works primarily with wood, cement, and acrylic, materials chosen for their weight, resistance, and capacity to hold time. Her process explores the tension between what is left behind and what is slowly appropriated, tracing the interior transformation that displacement provokes.
Her work is organized in series, each structured around specific stages of that process. The series Madrid unfolds across four chapters — Inmigración y Reconstrucción, Soledad Compartida, Resistencia y Ritmo, and Apropiación y Pertenencia — mapping the arc from rupture to belonging. Del Buono's work has been exhibited at Arrival Gallery, Madrid.

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