Through an unapologetically affective-materialist lens, the work of Anto Lloveras articulates a queer spatiality that collides memory, matter and participation into a pulsating territory of resistance and reinvention; across media that span installation, videoart, furniture and collective design, Lloveras constructs what might be called a transmaterial archive—where smashed heirlooms, discarded fragments and embodied residues of the self are neither restored nor forgotten but ritually shattered and repurposed into charged assemblages, as in Residuos Emocionales, where beloved personal objects become the topography of an emotional landscape, tracing an archaeology of pain and tenderness on 120x120 canvases, while projects like Fortalezas translate this ethos into socioplastic play, inviting children within gallery spaces to collaboratively construct an evolving sculpture tagged with 200 affective signs, creating a politicised ludic space where innocence becomes insurgent, and tactile co-creation displaces hierarchical authorship; the tension between the intimate and the urban emerges further in Urban Punch Love, an ephemeral city intervention that rewrites public space through gestures of queer affection and micro-resistance, while Meat and Fireworks explore the viscerality of flesh and spectacle through installation and video, revealing a fascination with both bodily decay and sensual intensity, motifs echoed in Mudas and Aboriginal, where naturalist textures and posthuman avatars navigate the political geographies of Mexico DF, articulating a kind of avatar ethnography of queerness and territory; Lloveras’ architectural and graphic side, evident in Easy Rider and Tomoto, reflects the same commitment to hybridity and experimentation, eschewing disciplinary silos in favour of a fluid design ecology where furniture (Banquetanga) becomes narrative and function becomes provocation; ultimately, this is not a body of work but a body-in-becoming, a transhumanoid praxis where emotion, memory, play and insurgency cohabit the same ontological plane, refiguring the artistic gesture as a ritual of survival and expansion.
