2025

Offline Processing

SOLO SHOW
Solaris - Art Space, MTY, MX

September 2025 - October 2025

¨Offline processing” refers to the changes memories undergo after their initial acquisition, when they are not being actively recalled or used. During this period, whether in sleep, inactivity, or moments of rest, memories are reorganized, consolidated, weakened, or strengthened. Through this process, they stabilize and integrate with other experiences, sometimes transforming and generating new and meaningful connections.

The exhibition departs from the notion that memory is not a static archive, but a landscape in constant transformation, much like in neuroscience, where a new experience can interfere with a previous one, modifying, weakening, or re-signifying it. The cut and interwoven photographs here embody those very processes of interference, consolidation, and recomposition.

Woven Landscapes 一 through 六, 2025
Analog photographs, collage, acrylic, and metal

2025

And with each quiet step,
We insist – we are here.

SOLO SHOW
Ovni Gallery, CDMX, MX

April 2025 - May 2025

The snail turns into a vessel for memory, migration, and transformation. Crawling across thresholds, windows, and walls, they map a slow and steady presence, leaving behind more than just imagined slime: a neural choreography of the auditory pathway, from the cochlea to the cortex.
Through this, the installation listens as much as it speaks. It becomes a tactile, spatial meditation on the ways we process and preserve experience—both externally and within.

We live in an era of displacement. While some bodies move freely, others are detained, excluded, or cast as threats. The figure of the snail, often perceived as foreign or invasive, is dismissed or mocked. It's cowardly called alien and slimy. A creeping invader. A metaphor for unwanted presence. Garcia holds up this fear for what it often is: absurd, defensive, and deeply revealing, reclaiming the snail’s form as something else entirely, a nomadic figure, carrying its home on its back, adapting to unfamiliar terrain with patience and persistence. Its shell is not just protection, but an archive.

1. Each quiet step. 2025
Snail shells, air-dry clay installation
2. From below or from above? 2025
Oil on linen

2024

30 Seconds keep passing by.

Que me Tome la Noche.

GROUP SHOW
Casa de la Cultura Nuevo León, MX

November 2024 - March 2025

Playing with the persistence of vision, Pamela captured 30 seconds of the old pine rooted outside her window, presenting a non-linear narrative of daily life unfolding beyond her view. Blending frames together to reflected on spans from weather fluctuations to interpersonal tensions, ultimately culminating in diverse narratives. Essentially, it serves as an invitation to imagine and explore rootedness, introspection, and connection to the world.
This perspective challenges the conventional notion of home as merely a physical structure. Instead, it offers a temporal anchor, acknowledging the human experience of nostalgia.

1. 30 seconds keep passing by.
Installation video, 2024
loop - silent.
[Video]

2024

The Slightest Touch.

Full House.

GROUP SHOW
Kleine Goddaart 5 Antwerp, BE

February 2024

The cochlear spiral's unique snail-like structure enables our auditory system to efficiently capture and interpret the slightest touch of vibrations, which later develop into a vast range of sounds that we encounter in our environment.
In essence, I played around the idea of our "own little snail or house inside our brain," which offers a creative and metaphorical lens through which to contemplate the intricacies of the human mind, emphasizing its uniqueness, protective qualities, and potential for self-exploration. Suggesting that our inner world is a place we carry with us, much like a creature carries its shell.

Pamela presents two pastel drawings of the human auditory system alongside 60 dry-air clay snails, each leaving a trace depicting the scientific diagram of the ascending auditory pathway – from the cochlea to the cortex – on the window.

1. The slightest touch, 2024
Snail shells, air-dry clay installation
2. Cochlear spirals, 2024
Pastel drawings

2023

The Water, from Here.
An understanding of the raindrop shape.

SOLO SHOW
InSitu Space Antwerp, BE

November 2023

Pamela's solo exhibition is a fusion of comparison, imagery, and awareness-raising.

Within this artistic narrative, she started a quest for creating a "perfect raindrop,"
A thread that intertwines her personal odyssey with water, bringing to the table her experience of drought and parched landscapes, from her hometown, Monterrey, Mexico. And in a stark contrast, she highlights the watery abundance of Antwerp, where the rain has pleasantly surprised her with its profusion.

Pamela unveils a 10kg dry-clay installation of raindrops, a drawing accompanied by a list of coordinates, and a loop video. Through these media, she invites us to witness the stark disparities and engage in discussions about how our memories are shaped by weather. Furthermore, she prompts us to consider whether weather is a social or personal experience, and how it can be communicated and translated through words and images. In the context of climate change, she raises the question of how our memories might diverge from the weather we've come to expect. This project serves as a personal journey, connecting her experiences with the broader narrative of the essence of water.

1. Today, we are only hoping that it will rain, 2023

30 Seconds Video Loop
[Video]

2. Droplets, 2023
Air-dry Installation

2023

The Exact Hour of the Sunset.

SOLO SHOW
Aparador Monterrey, MX

May 2023 - August 2023

About

On this occasion, Pamela focuses on the rebirth of native plants after an extreme drought from last year, framing a tree native to the region (Caesalpinia mexicana) and the wind as the main protagonists of the exhibition, with Pamela's allegorical compositions taking place in the organic pathways through which leaves and nature still follow their path after extreme weather conditions.
From early morning to late afternoon and a 2-minute sunset, the landscapes evolve, revealing layers of different moments and movements, light and shadow emerging between the winds.
Pamela presents a compilation of four large paintings along with various assemblies of small canvases, accompanied by recent experiments involving the installation of blown glass chains. Sharing a speculative space of imagination that takes place in her landscaped home located in an abandoned quarry (Cerro de las Mitras) in Monterrey, Mexico. She has an ongoing project focused on connections through understanding the in situ environment, geographical factors, as well as the human factor and its influence on the environment.

1. Grillo, 2023

Oil on Linen

2. 8:43 am (Feeling everything), 2023
Oil on Linen, 120 x 60 cm
3. 8:38 p.m. (No time to spare)

Oil on Linen, 120 x 60 cm

4. Tangle & tangle
Blown Glass & Stainless Steal

2022

A Stone as a Poetic Memory.

La Tierra que Habitamos.

GROUP SHOW
Fatima Cultural Center. MX

Project supported by Nuevo León 2020 Program to Stimulate Artistic Creation and Development (PECDA).

March 2022

The project, “A stone as a poetic memory,” Dealt with ongoing research focused on the devastation the landscape has suffered to supply the growth of an industrial city. Through geographical factors (e.g., precipitation, soil, and soil erosion, etc.) as well as the human factor and our influence on the environment.

Pamela establishes a conceptual anchor with the time and place of the landscape in a series of six charcoal drawings on washi paper that, similar to the landscapes themselves, these drawings fade over time.
Alongside — An archive of landscape photographs between the period of time between July 2021 to November 2022, shown as postcards, “Forecasting the state” which dealt with a representation of the environment holding as much of the past inside them.

1. Background featured in the environment, 2022
Charcoal on washi paper
2. Forecast of the state, 2021
Postcards (6x4 in)

2020

Landscape changed my point of view.

GROUP SHOW

CONARTE Monterrey.
Participated in the 2nd State Art Nuevo León Prize Show (2020)

April 2021

Subtly point to progressively more intimate interactions with fragmented environments populated by nonhuman entities, bolstering the adaptability of natural environments within and between, and the apprehension of reality generally speaking.

Pamela's work features two drawings accompanied by photographs from an old quarry in her hometown. Playing with visual excerpts, she assembles a fragmented and incomplete rendering of the place.

1. Landscape changed my point of view, 2020
Photograph, Charcoal on paper

2019
We cannot observe the same things.

SOLO SHOW
Timba Artist-run space.
Monterrey, MX

December 2019

“We cannot observe the same things.” Revolves around – A series of studies about the photographic image in terms of speculation rather than figurative representation.
The pieces draw from the three stages in the life cycle of thunderstorms: The developing stage, the mature stage, and the dissipating stage. Creating a narrative from fragments and precise moments of each state.
Beyond the visual representation of thunderstorm stages, Pamela delved into the conceptual aspects of storytelling through imagination. Question the nature of observation, and encourage seeing beyond the literal and exploring the speculative potential of the medium. The title, "We cannot observe the same things," hints at the subjective nature of perception and interpretation, adding an intellectual layer to the visual experience.

Pamela aimed to redefine her relationship with photographic images, using the metaphor of thunderstorm life cycles to guide me through a journey of speculation, creativity, and contemplation.

1. Dissipating, 2019
Pastel on Paper
2. Precipitation Beings, 2019
Pastel on Paper

2019

Slowly Sinking Down

SOLO SHOW

Studio Kura, Itoshima-shi, JP
Artist Residency

March 2019

The series of drawings “Breaths” ultimately addresses a performance and collection of breaths during her Studio Kura Residency in Itoshima.

Introducing walking as both a loss of control and a seizing of public space. Elements and objects found on-site are presented as a brief poetic consideration on the material attributes that define the city: about the subjective and intangible. The real goal here is the unexpected imaginings and emotional wanderings we hope the project might engender in the mind and body of the viewer.
The final pieces she presented included four pastel drawings alongside found objects and three ink drawings on rice paper, capturing her window view. In the end, she contemplated the relationship between individual wayfinding guided by the existing landscape or city plan.

現在スタジオクラで滞在制作中のPamela Gciaの滞在成果を発表する個展「Deeply Sinking Down」を3月23（土）および24日(日)に開催します。
Pamela García Valero パメラ·ガルシア·バレロは、メキシコのモンテレーに拠点を置く学際的アーティストです。
モンテレー大学にて版画、ドローイングおよび絵画に専念し、美術科学士号を取得。モンテレー周辺のアートスペースやギャラリーでのグループ展や個展にて作品発表を行っています。パメラの作品は私たちの日常生活に基づく日々の習慣を探求し、思考も含め繰り返されるジェスチャーを再定義し、それぞれのジェスチャーがその特有の時空を持ち特異性と細部が新しい物語を生み出す可能性を探ります。
Studio Kura ︎︎︎

1. Breaths, 2019
Charcoal on paper, found objects

2018

Day by day

SOLO SHOW

Lugar Común,
Monterrey, MX

November 2018

Routine-based performance titled ‘Day by day’
The performance ultimately addresses her resting body topographies, through each day scenario, she was able to explore memories, thoughts, and dreams in relation to drawings by means of textures and experiences, diving into a stream of imagery.

Pamela incorporated a drawing ritual into her daily routine, in which, for 287 consecutive days, the lines and marks from my bed sheet became her drawing field.

...the way in which the territory of the dream becomes a drawing field, a storm a pretext of thought, or a series of lines a kind of mantra to focus and understand the world.

1.#167, 2018
Charcoal on paper
2. Drawing Archive, 2018
Charcoal on paper