Artiste
VALERIA VILLAR PARRA |
| (Peintre) |
| Galerie : + QUE 2 |
| Editions OCTOBRE 2026 |
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| Valeria Villar Parra is a Mexican hyperrealist artist, writer, poet, international beauty queen, and human rights advocate. Her work explores what the eye can render but language struggles to contain: grief, memory, mortality, and hope. Drawing on studies in law, economics, political science, business administration, and biotechnology, she approaches every image with the precision of an observer and the curiosity of a philosopher. Yet technical mastery is only the beginning. For Villar, the purpose of realism is not to imitate the visible world, but to expose its emotional truths. Each original artwork bears a handwritten philosophical reflection on its reverse"an intimate literary piece reserved for the person who holds it. The drawing invites the viewer closer; the words deepen the encounter. An internationally crowned beauty queen and public speaker, Villar sees no contradiction between beauty, intellect, and social responsibility. Through the Carlos Villar Foundation, all proceeds from these exhibited works support humanitarian causes, including suicide prevention. Each acquisition preserves two works in one"and gives their meaning a life beyond the gallery. |
| Site web : IG: @valeria.villarp |
 My God, My God, Why Hast Thou Forsaken Me? 2026 27 × 19.2 cm cm Mixed media 2000 € In this hyperrealist portrayal of the Crucifixion, divinity gives way to humanity. Christ is no longer an untouchable symbol of faith, but a man in agony: vulnerable, afraid, and confronted with the unbearable silence of the God he calls Father. At the moment of his final question, certainty dissolves into doubt. The Son becomes a suffering human being, searching for an answer that never comes. His anguish transcends religion, revealing something profoundly universal: even the deepest faith can encounter despair. The artwork does not seek to challenge belief, but to reveal the humanity within the sacred. It asks us to contemplate not only what Christ sacrificed, but what he felt. On the reverse, an original philosophical reflection handwritten by the artist extends this meditation beyond the image, uniting visual art and literature in a single, intimate creation. All proceeds support hospital-related humanitarian initiatives through the Carlos Villar Foundation. |  God, Don't Let Go of Me 2026 27 × 20.6 cm cm Mixed media 2000 € There is a form of suffering so profound that the greatest fear is no longer pain itself, but the possibility of being abandoned within it. God, Don't Let Go of Me gives voice to the desperate, profoundly human plea of someone who, overwhelmed by anguish, asks for only one thing: that God remain. It is not a demand for a miracle, nor a bargain for the end of suffering. It is a prayer born at the limits of human endurance, where faith ceases to be an abstract conviction and becomes the fragile hope that one is not alone. The work explores a haunting distinction: to suffer is one tragedy; to believe oneself forsaken in suffering is another. Here, divine presence is not measured by the absence of pain, but by the possibility of enduring it without abandonment. On the reverse, an original philosophical reflection handwritten by the artist extends this intimate dialogue between human vulnerability and the longing for God. All proceeds from the sale support educational inclusion and the Centro de Atención Múltiple in Zimapán, Mexico, through the Carlos Villar Foundation. |  The Gaze into Mictlan 2026 21 × 27 cm cm Mixed media 1000 € Death is often portrayed as humanity's greatest fear. But what if, instead of an ending, it were a reunion? Inspired by the ancestral Mexican vision of Mictlan, the realm of the dead, The Gaze into Mictlan invites us to contemplate mortality not through terror, but through love, remembrance, and the possibility of meeting again those we have lost. In this work, death is neither an enemy nor a punishment. It is a mysterious passage, a threshold beyond which the bonds of affection may endure. The gaze becomes an invitation to look beyond absence and imagine that those we love are not entirely gone, but waiting somewhere beyond the limits of our understanding. The artwork celebrates a profoundly human truth: we do not cease to love someone simply because their life has ended. To remember is to keep loving; to honor the dead is to refuse to let their existence disappear into oblivion. On the reverse, an original philosophical reflection handwritten by the artist offers a second, intimate encounter with the work, joining image and literature in a single creation. Through the Carlos Villar Foundation, 100% of the proceeds support initiatives for missing persons and searching mothers, honoring those who refuse to stop looking for the people they love. |  Archaeology of a Suicide 2026 21 × 27 cm cm Pencil 1400 € Archaeology of a Suicide approaches death as an enigma composed of fragments, traces, and silences. The work offers visual clues that invite the viewer to reconstruct how the suicide may have occurred, yet it refuses the certainty of a single answer. Like an archaeological site, it must be read through remains. Its deeper question, however, is not only how a life ended, but what invisible suffering led to that final act. Beneath the mystery lies a meditation on despair, isolation, and all that can remain unnoticed within a human being until it is too late. The viewer becomes both witness and interpreter, drawn into a quiet investigation where every detail may signify absence, pain, or memory. In this sense, the work transforms observation into empathy: to search for meaning is also to confront the fragility of life. On the reverse, an original philosophical reflection handwritten by the artist offers an additional clue, extending the work beyond the image and creating an intimate dialogue between visual art and literature. Through the Carlos Villar Foundation, 100% of the proceeds from its sale are dedicated to suicide prevention. |