Eduardo Cabrer
San Juan, PR
Puerto Rican visual artist (BFA/MFA GWU) exploring self through geometric abstraction + meditative practice. Rooted in Santurce, evolving always.
Message
Eduardo Cabrer is a Puerto Rico–based artist whose practice centers on two-dimensional geometric painting on wood and linen. Working with hard-edge forms and saturated color, Cabrer explores how flat surfaces can suggest spatial depth, movement, and architectural tension. His compositions operate as visual systems, where precision and balance coexist with emotional instability and perceptual shift.
Cabrer’s work engages the legacies of modernist and Latin American abstraction, drawing influence from artists such as Ellsworth Kelly, Carmen Herrera, Lygia Clark, Sol LeWitt, James Turrell, and Dan Flavin. While grounded in minimal and conceptual traditions, his practice emphasizes material presence and process. By painting directly on wood and allowing its grain and edges to remain visible, he introduces a tactile and human dimension into an otherwise restrained visual language.
Rooted in the Caribbean, Cabrer’s use of color and rhythm reflects a cultural landscape shaped by movement, resilience, and layered histories. His paintings function as spatial meditations—inviting viewers to slow down and experience abstraction as an emotional and perceptual encounter rather than a purely formal exercise.
In addition to his studio practice, Cabrer is actively involved in curatorial and community-based projects, using art as a tool for dialogue, collaboration, and social engagement.
Statement
Artist Statement
My work exists at the intersection of painting, sculpture, and architecture. Through geometric reliefs constructed from layered wood and saturated color, I explore how form can activate both physical and psychological space. Each composition is built as a system—planes intersect, collide, and lean against one another—creating structures that feel simultaneously stable and precarious, ordered yet emotional.
Influenced by the legacies of Ellsworth Kelly, Carmen Herrera, Lygia Clark, Sol LeWitt, James Turrell, and Dan Flavin, I approach geometry not as a rigid language but as a living one. From Kelly and Herrera, I inherit a commitment to clarity and precision; from LeWitt, a belief in systems and seriality. Clark’s work informs my interest in form as an active, almost bodily presence. Turrell and Flavin shape my thinking around perception, light, and spatial experience—how illumination, shadow, and environment become collaborators in the work rather than neutral conditions.
Materiality is central to my practice. I work primarily with wood, embracing its grain, edges, and imperfections as a counterpoint to the purity of hard-edge abstraction. This tension between craft and minimal form introduces a human presence into the work—evidence of touch, construction, and decision-making.
Rooted in the Caribbean, my color choices and compositional rhythms reflect an emotional and cultural landscape shaped by movement, resilience, and layered histories. These works function as spatial meditations—architectures of thought—inviting viewers to slow down, shift perspective, and experience geometry as a site of introspection rather than certainty.
Ultimately, I see each piece as a proposal: a structure that holds feeling, a space where order and vulnerability coexist.