Detail of a white embossed cotton paper relief. Hand-cut petals, fronds and discs overlap in shallow layers, raked by low light that throws soft shadows into the cuts.

Marina Maiztegui

Statement

My work begins with the ocean, not as a subject to represent, but as a landscape of constant transformation.

I am drawn to what lies beneath the surface: structures shaped by movement, accumulation, erosion, and forces that often remain invisible. Through form, texture, depth, and repetition, I seek to evoke the rhythms and hidden landscapes of the sea.

Working across ceramics, embossed paper, and mixed media, I build through slow, repetitive processes in which material and time become part of the work. Forms accumulate, surfaces transform, and unexpected relationships emerge between what I can control and what the material reveals.

My pieces do not seek to reproduce the ocean, but to inhabit its movement, mystery, fragility, and continuous transformation.

The beauty of the ocean does not belong to us. Let us take nothing from the sea.

Close detail of an embossed cotton paper relief. Hand-cut discs, blossoms and leaf shapes layer over a field of finer embossed pattern, all of it white, read only through the shadows in the cuts.

Seas

Embossing on archival cotton paper

Seas explores the ocean through embossing, hand-cutting, layering, and sculptural construction on archival cotton paper. Each form is first embossed into the paper, then individually cut entirely by hand and assembled in layers, transforming the printed surface into a three-dimensional composition.

Without pigment or color, the work relies on the material itself, its texture, depth, edges, and negative spaces. Light and shadow become active elements, continuously revealing and concealing forms as the surrounding light changes.

The embossed impression becomes the starting point for a sculptural language that evokes the movement, accumulation, and hidden landscapes of the sea.

  • White embossed and hand-cut cotton paper relief in a white box frame, hung on a dark green panelled wall. Ridged forms drift diagonally across the sheet in shallow relief.
    Mar de Seto, 202434.65 × 26 in (88 × 66 cm)
  • White embossed cotton paper relief in a landscape white box frame on a dark green wall. Layered cut shapes mass along the lower half like a bank of cloud or coral.
    Mar de Arafura, 202325.6 × 17.71 in (65 × 45 cm)
  • White embossed and hand-cut cotton paper relief in a white box frame on a dark green wall. Layered forms gather at the centre and break into fine ribbon-like cuts along the lower edge.
    Mar de Coral, 202325.6 × 19.29 in (65 × 49 cm)
  • White embossed and hand-cut cotton paper relief in a white frame on a dark green wall. Rounded layered forms surround a branching coral shape at lower right.
    Mar de Kara, 20268.66 × 10.63 in (22 × 27 cm)
  • White embossed and hand-cut cotton paper relief in a white box frame on a dark green wall. Broad overlapping leaf and frond shapes fan across the whole sheet in deep relief, the deckled edge of the paper visible inside the frame.
    Mar Blanco, 202511.82 × 14.57 in (30 × 37 cm)
  • White embossed and hand-cut cotton paper relief in a white frame on a dark green wall. Overlapping fan and frond shapes fill the sheet edge to edge in deep relief.
    Mar Negro, 202611.82 × 14.57 in (30 × 37 cm)Sold
  • White embossed and hand-cut cotton paper relief in a white box frame on a dark green wall. Soft rounded forms overlap at the centre of the sheet in low relief, ringed by fainter embossed shapes.
    Mar de Sofi, 202435 × 26 in (89 × 66 cm)Sold

Reefs

Ceramic sculptures

Reefs explores the organic structures and hidden landscapes of coral ecosystems through hand-built ceramic sculpture. Each piece is constructed entirely by hand over weeks, layer upon layer, form upon form, without molds or mechanical processes.

Irregular porosity, hollow chambers, and organic accumulations emerge through a slow and intuitive process in which repetition and variation shape each sculpture. Rather than reproducing coral forms, the works evoke the complexity, fragility, and continuous transformation of underwater ecosystems.

The resulting objects feel almost excavated rather than made, fragments of an imagined underwater landscape translated into fired clay and subtle traces of gold luster.

  • Domed ceramic reef form held in two hands against a black top. Cupped discs and barnacle tubes crust the surface, some rims touched with gold luster.
    Número 20, 20247.87 in (20 cm)
  • Oval ceramic reef form held in two hands against a blue tie dyed dress. Dense barnacle clusters and cupped discs cover it, flecked with gold luster.
    Número 29, 202410.24 in (26 cm)
  • Domed ceramic reef form held in two hands against a denim shirt. Frilled cups and open tubes crust the surface, several rimmed in gold.
    Número 30, 20248.27 in (21 cm)
  • Domed ceramic reef form held in two hands against a grey top. Large open flower like cups sit among fine tubes in matte cream.
    Número 31, 20249.05 in (23 cm)
  • Domed ceramic reef form held in two hands against a black top. Tightly packed tubes rise to a large ruffled disc at the crown.
    Número 32, 20247.87 in (20 cm)
  • Shallow oval ceramic reef form held in two hands against an ochre linen dress. Its white crust of tubes and small cups is broken by patches of soft coral pink.
    Número 9, 20217.87 in (20 cm)Sold
  • Rounded ceramic reef form held in two hands against a dark grey dress. Cupped discs cluster over a crown of fine open tubes.
    Número 13, 20229.84 in (25 cm)Sold
  • Ceramic reef form held in two hands against an ochre dress. Discs rimmed in gold luster gather at the top over a dense field of pale tubes.
    Número 14, 20228.8 in (22 cm)Sold
  • Rounded ceramic reef form held in two hands against a sand coloured dress. Open cups and clustered tubes build up across the surface in cream and bone white.
    Número 27, 20249.84 in (25 cm)Sold
  • Shallow ruffled ceramic reef form held in two hands against a floral dress. Its wavy edges are rimmed in gold luster above a bed of small tubes.
    Número 28, 20249.05 in (23 cm)Sold
  • Domed ceramic reef form held in two hands against a dark olive dress. Open tubes cover the lower half, cupped shells gather over the crown.
    Número 21, 20238.27 in (21 cm)Sold
  • Oval ceramic reef form held in two hands against a navy dress. Gold rimmed cups spread across the crown, a few pierced by small dark openings.
    Número 15, 20228.57 in (22 cm)Sold

Corals

Ceramic on canvas

Corals explores the collective nature of coral ecosystems through ceramic relief. Individual ceramic elements, each formed entirely by hand and separately fired, are composed directly on canvas to create wall-mounted sculptural works.

The compositions develop through accumulation, forms cluster, separate, and reappear across the surface, while the negative spaces between them become an essential part of the work.

Rather than depicting a coral reef, the series evokes the rhythm of a living colony, individual forms coming together to create a larger, constantly evolving landscape.

  • Upright canvas on a black wood wall, its white surface scattered with small pale ceramic discs and rosettes that drift diagonally across it.
    Mar de Timor, 202413.39 × 15.75 in (34 × 40 cm)
  • Upright canvas on a black wood wall. Ceramic rosettes, perforated discs and small pierced forms cluster along a diagonal band.
    Mar de Ceram, 202414.96 × 18.9 in (38 × 48 cm)
  • Square canvas on a black wood wall. Pale ceramic rosettes and pierced discs are strewn from the lower left toward the upper right, thinning as they go.
    Mar de Célebes, 202415.75 × 15.75 in (40 × 40 cm)
  • Square canvas resting on a wooden surface against a pale wall. Bone white ceramic rosettes and perforated discs drift diagonally across a textured white ground.
    Mar de Flores, 202415.75 × 15.75 in (40 × 40 cm)Sold
  • Canvas leaning on a wooden surface against a pale wall. Clusters of white ceramic rosettes, rings and pierced forms spread across a heavily textured white ground.
    Mar de Java, 202415.75 × 15.75 in (40 × 40 cm)Sold

Coming soon

Work in development

Visualisation of a monumental white relief wall, several storeys tall, built from overlapping fans, blossoms and coral forms. A small figure walks through an arched opening cut into it, giving the scale.A second visualisation of the same white relief wall, framed wider. The overlapping discs and fronds fill the full height, with the arched opening and the figure at its centre.

Available for

Private collections
Works from existing series available for immediate acquisition. Edition documentation and provenance provided.
Hospitality and hotel projects
Curated placements and bespoke commissions for hotels, resorts, and hospitality environments. Experience with Miami Art Week hotel exhibitions.
Interior design collaborations
Direct collaboration with interior designers and architects. Flexible sizing and custom commissions available across all three series.
Site-specific commissions
Large-scale and site-specific works developed in dialogue with space, architecture, and program. Lead times and process discussed on inquiry.

About

Marina Maiztegui standing beside a tall Corals canvas, a drift of pale ceramic forms across white, against a deep green wall.

Buenos Aires, 1974. Based in Miami, Florida

Marina Maiztegui is an Argentine visual artist whose practice explores the ocean as a landscape of transformation, movement, and accumulation.

Working across hand-built ceramics, embossed cotton paper, and mixed media, she develops sculptural works through slow, material-driven processes based on repetition, layering, and experimentation. Her forms emerge between control and unpredictability, evoking natural systems without seeking to reproduce them.

Her work has been exhibited in Buenos Aires and Miami and is held in private collections across Latin America, the United States, and Europe.

Selected exhibitions

2025
Miami Art Week, Shepley HotelMiami Beach, Florida
2025
Espacio LivingBuenos Aires, Argentina
2024
Miami Art Week, Nassau HotelMiami Beach, Florida
2024
Miami Art Week, Blue Lavender CaféMiami Beach, Florida
2023
Espacio LivingBuenos Aires, Argentina
2022
Tendencia ArenalesBuenos Aires, Argentina

Education

2008
Interior Design, Centro PampaBuenos Aires, Argentina
1998
B.A. in Advertising, Universidad de PalermoBuenos Aires, Argentina

Contact

For available works, commissions, and hospitality or design projects.

marinamaizteguiart@gmail.com@marinamaizteguiart

Miami, Florida