Andrés Delgado works from the idea of the bancal — the agricultural terrace built stone by stone — as a symbol of resistance, labour, and inherited memory. The exhibition text describes the territory of Arico, in southern Tenerife, not as a postcard landscape but as a “geography of resistance.”

Bancales turns the landscape into a body.

he terraces, walls, volcanic materials, abandoned water structures, and traces of agricultural life become a visual archaeology of effort and disappearance. Delgado does not paint the land as something decorative; he treats it as a living archive shaped by labour, scarcity, erosion, and memory.

You’re watching:

• Terraced landscapes transformed into abstract structures
• Stone walls that feel like scars across the land
• Corrugated cardboard, torn surfaces, and rough textures used as material language
• Volcanic references — jable, rofe, basalt, zahorra — turned into painterly matter
• A reflection on rural memory, extractivism, abandonment, and the replacement of old forms of sustainability by new industrial landscapes

The works feel physical, dry, wounded, and deeply rooted — like fragments of land trying not to disappear.

Especially if you are interested in art that connects territory, ecology, memory, and material experimentation.

Because Bancales is not just about rural landscape. It is about what happens when a way of life disappears — and what remains in the stones, walls, water tanks, paths, and materials left behind.

The exhibition text frames Delgado’s work as a defence of memory against the “amnesia of progress,” and connects his materials to the violence of extraction and the transformation of the land.

Don’t look for a postcard landscape — look for traces, scars, and structures

Pay attention to materials: cardboard, texture, roughness, volcanic references

Think of each work as a fragment of territory rather than a flat image

Notice the tension between beauty and damage

Read the bancales as architecture made by necessity, not decoration