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Fabian Perez, the Buenos Aires–born painter of Neo-Emotionalism, builds scenes where light first finds the human heart, then the room around it. Today, more than 100 galleries across six continents bring those moments to new life, placing dancers paused between breaths, couples sharing a secret glance, and solitary figures haloed by bar light into homes where their stories can continue unfolding. In Los Angeles and London, Tokyo and Dubai, Toronto and Madrid, the canvases don’t just hang; they settle in, becoming part of a family’s evening ritual or a friend’s late‑night conversation. That is the promise of Neo‑Emotionalism: art that is “felt in the heart” before it is named. The Global Gallery Network Perez’s work transforms openings into reunions between the art and the rooms awaiting it. Across Europe, major‑market galleries debut new series alongside beloved catalog images; touring shows and book signings transform releases into shared rituals, the way collectors gather to meet a story they’ve already begun to love. The network functions like a constellation, each city a point of light, so that a sale in one time zone brightens interest in another. By design, that constellation spans both historic art capitals and fast‑growing hubs, widening the pathways by which a painting finds its home. Programming around local calendars, film festivals, design weeks, and art fairs invites adjacent audiences to cross the threshold, from cinephiles drawn by cinematic light to travelers who carry a mood back to their cities. It’s a cadence that keeps Perez present without crowding any single skyline. The Master Portraitist Beyond his Neo-Emotionalist scenes, Perez has earned recognition as “one of the most accomplished portrait painters of the 21st century” through his Living Legends collection. His portrait of Pope Francis, personally presented at the Vatican, now hangs in the Pontiff’s private collection, while commissioned works of Lionel Messi, Arnold Schwarzenegger, Al Pacino, Rafael Nadal, and Argentina’s President Mauricio Macri demonstrate his mastery of capturing not just likeness, but essence. “When I see this painting, I see a reflection of myself,” Pope Francis told Perez upon receiving his portrait, validating the artist’s ability to reveal the inner story of his subjects through the same dramatic lighting and emotional depth that defines his broader body of work. These high-profile commissions create additional gallery programming opportunities and introduce new collectors to Neo-Emotionalism through the prestige of his portraiture talent. Why the Work Travels Perez’s world reads like film stills in paint: high‑contrast chiaroscuro, figures positioned at the edge of confession, stories implied rather than declared. The images feel familiar, not because they are known, but because they are felt; what Perez calls Neo‑Emotionalism, a movement recognized when the maker feels liberated and the viewer feels it in the heart. The paintings welcome first-time buyers without sacrificing sophistication for lifelong collectors; the sculptures and books extend the same language into touch and text so that the story can live on the table as well as the wall. Continuity is the quiet architecture of that feeling. The mood returns, a certain night air, a curve of light on a cheekbone, the gravity of a paused gesture, yet each series turns the dial: palette deepens, angles shift, silence lengthens. Collectors recognize the signature and trust the evolution; they follow the characters from canvas to canvas, just as a reader follows a favorite author from book to book. Market Context and Timing As more collectors seek art that anchors lived spaces, figurative work with emotional charge has made a resurgence. Perez anticipated this turn, offering images that hold their own in living rooms, restaurants, and hotels—pieces that catalyze conversation by day and become an atmosphere by night. The result is versatility: a painting that warms a dining room, a sculpture that accompanies a stairwell, a book that carries the studio’s hush into a quiet Sunday. Lifestyle‑driven collecting favors works that can meet people where they live, work, and gather. Noir ambiance and human scale invite proximity; the pictures don’t shout across the room, they sit beside it, making space for a memory to arrive. Galleries, in turn, can place the work in a broader range of interiors, matching pieces to rooms the way a tailor matches cloth to the light of an evening. Competing in Contemporary Markets In the contemporary world, Perez’s distinction is cinematic intimacy and discipline: the architecture of light, the economy of gesture, the hush of a scene mid‑story. His pieces offer quiet human moments: dancers at rest, couples mid-thought, solitary figures in a reflective glow, motifs that cross borders because the feelings do. The language is specific, the emotions are not; that’s why the same painting can belong equally to Madrid and Miami. Breadth across mediums strengthens the bond. Paintings anchor the narrative, sculpture extends it into touch, and books frame it with context—three ways to live in the same world. For galleries, that means rich programming; for patrons, it means a path from first encounter to lifelong companionship with the work. Over time, this layered ecosystem becomes its own proof of demand. Fabian’s Momentum, In Motion Perez’s calendar reads like a heartbeat, with studio mornings, gallery nights, and a steady run of appearances keeping the conversation alive city by city. Recent and upcoming engagements span UK personal appearances with Clarendon Fine Art, Q&As, unveilings, and limited-edition launches, each designed to bring viewers into the room where the story begins again. These touchpoints don’t just promote releases; they braid the audience into the work’s life cycle, one encounter at a time. In Los Angeles, the Fabian Perez Gallery of Neo‑Emotionalism pairs studio updates with community events, from themed evenings to sold‑out painting sessions that introduce newcomers to the cadence of his technique. Each gathering acts as a small ignition. People leave with a gesture in their hands and a scene in their heads, fueling the word‑of‑mouth that travels faster than the press. It’s a momentum that feels human by design: a movement that moves because people carry it. What this means next is specific and straightforward: more rooms, more conversations, more canvases, finding the walls they were meant for. As the constellation of galleries expands and appearances anchor new relationships, the cadence holds, protecting the signature, evolving the narrative, and keeping the doors open. Momentum here isn’t noise; it’s continuity. Each event, each unveiling, each note to a collector keeps the circuit closed so the work can do what it has always done best: find its way home.
