Landon Metz

L a n d o n M e t z

Ibiza 0 8 . 0 8 . 2 6

Parra & Romero, exhibition: Landon Metz (fig. 1)

Parra & Romero, exhibition: Landon Metz (fig. 2)

Parra & Romero, exhibition: Landon Metz (fig. 3)

Parra & Romero, exhibition: Landon Metz (fig. 4)

Parra & Romero, exhibition: Landon Metz (fig. 5)

Parra & Romero, exhibition: Landon Metz (fig. 6)

Parra & Romero, exhibition: Landon Metz (fig. 7)

Parra & Romero, exhibition: Landon Metz (fig. 8)

Parra & Romero, exhibition: Landon Metz (fig. 9)

Parra & Romero, exhibition: Landon Metz (fig. 10)

Parra & Romero, exhibition: Landon Metz (fig. 11)

Parra & Romero, exhibition: Landon Metz (fig. 12)

Parra & Romero, exhibition: Landon Metz (fig. 13)

Parra & Romero, exhibition: Landon Metz (fig. 14)

Parra & Romero, exhibition: Landon Metz (fig. 15)

Parra & Romero, exhibition: Landon Metz (fig. 16)

Parra & Romero, exhibition: Landon Metz (fig. 17)

Parra & Romero, exhibition: Landon Metz (fig. 18)

Parra & Romero, exhibition: Landon Metz (fig. 19)

Parra & Romero, exhibition: Landon Metz (fig. 20)

Parra & Romero, exhibition: Landon Metz (fig. 21)

Parra & Romero, exhibition: Landon Metz (fig. 22)

Parra & Romero, exhibition: Landon Metz (fig. 23)

Parra & Romero, exhibition: Landon Metz (fig. 24)

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Parra & Romero presents, for the first time in Spain, the work of American artist Landon Metz (b. 1985, Phoenix, Arizona), with an exhibition in our Ibiza space featuring six previously unseen paintings, all created in 2026.

For nearly two decades, Met’z practice has been guided by an inquiry into the relationship between form and the larger field in which it emerges.

Known for a language of abstraction that explores the relationship between chance, control, and the physical properties of pigment on canvas, Metz has developed a practice which process itself becomes a primary subject. In this new body of work, the human figure emerges from the same process-driven approach that has long defined his paintings. Rather than marking a departure from abstraction, these works extend an investigation into how forms become perceptible while remaining inseparable from the conditions from which they arise.

Bodies emerge from expansive fields of color, appearing and disappearing simultaneously. Rather than portraying specific individuals, the figures become sites through which questions of presence and absence, individuality and interconnectedness, figure and ground can be explored.

The process remains at the heart of Metz’s practice. Pigment is poured directly onto raw, unprimed canvases, allowing gravity, absorbency, humidity, evaporation and time to participate actively in the formation of each image. The resulting surfaces reveal a coexistence of intention and contingency, bearing witness both to deliberate action and to forces beyond the artist’s control.

The six paintings are composed of fields of color held in tension with areas of untouched canvas. Their composition reveal a balance between appearance and disappearance, weight and lightness, fullness and emptiness. What emerges is less a representation of a body than an exploration of perception. Form and atmosphere, imagen and material, gesture and ground coexist within the same surface.

Installed in Ibiza, these works resonate with the Pitiusan island’s distinctive experience of light, space and duration. They invite sustained contemplation, allowing attention to move between the material qualities of pigment and the conditions through which perception takes shape.

Landon Metz is an American artist based in New York City. His work has been presented internationally in solo exhibitions and site-specific projects at institutions including the Pietro Canonica Museum, Rome (2018), and has been included in exhibitions at MAC Museo d’Arte Contemporanea di Lissone, Lissone (2025), the Palais des Études des Beaux-Arts, Paris (2022), the Nassau County Museum of Art, New York (2020), and the Villa Medici, Rome (2017), among others. In 2014, he was an artist-in-residence at the ADN Collection in Bolzano, Italy, and in 2019 he was nominated for the Prix Jean-François Prat.