“The project was developed on a wide variety of surfaces: the cylinders of the entrance columns, the metal bars of the gates, the passage of carriages to the garage and the adjacent space of the hairdressing salon, which is part of the same building but not the hotel itself.

To these supports are added two wide walls of about six meters long by five high, both crossed by a large circular window, in addition to ten metal balconies that protrude throughout the facade.

Overall, the variety of spaces, volumes and shapes posed a great technical and design challenge, to which were added pre-existing decorative elements and the corporate orange color of the building.

In this context, painting a figurative or representative image would have given prominence to one area over the others, leaving the rest as simple decorative additions. Therefore, an abstract composition was chosen, based on recurring geometric elements that generate rhythms, contrasts and movements between all parts of the set.

The mural works as a visual score, where each plane, stroke and shape is related to the next, unifying an architecturally heterogeneous space and giving it coherence and energy.

Linear plots, geometries, play of planes and transitions between background and figure are intertwined, creating depth, vibration and dynamism on surfaces that were previously flat and separated.

A mural that does not seek to represent, but to vibrate the space -a dance of color and form that envelops the entrance of the hotel and connects it with the city.”

– The King of Ruin