South Pasadena-based artist Roberto Benavidez has established himself as a re-imaginer of the piñata, morphing paper into objects instilled with meaning, impermanence, beauty, humor and subversive undertones.
Why it matters: In his first solo gallery show in Los Angeles (at Perrotin through Oct. 18), Benavidez creates piñatas that explore his fascination with the medieval Dutch painter Hieronymus Bosch, through the traditional Mexican artform.
The backstory: Benavidez got his start in the art world after moving to Los Angeles and taking painting and drawing classes at Pasadena Community College while working full time. He experimented across different materials, focusing on bronze casting and sculpture, before turning his focus to piñatas.
Read on ... to read about these wonderful pieces and see photos.
Call them ethereal, call them joyful, call them creepy, call them “Pikachu” — but don’t call them anything other than piñatas. South Pasadena-based artist Roberto Benavidez has established himself as a re-imaginer of the traditional Mexican craft, morphing paper into objects instilled with meaning, impermanence, beauty, humor and subversive undertones.
In his first solo gallery show in Los Angeles (at Perrotin through Oct. 18), Benavidez creates piñatas that explore his fascination with medieval Dutch painter Hieronymus Bosch and evoke the “Garden of Earthly Delights” artist’s imaginary world. At the Mid-City space, Benavidez’s works are suspended in mid-air, bringing piñatas of birds, mythical creatures and human-like forms to the skylit gallery.
“There was this feeling of disrespect towards Mexican culture. Even though it's consumed heavily, there's still this feeling of inferiority imposed upon it, so my thought was to take the piñata into these realms where it's been historically excluded,” Benavidez told LAist. “I hope when people see these pieces that it just expands the breadth of what Mexican culture is, what Mexican culture can be.”
Exhibition view of "Bosch Beasts"
(
Paul Salveson
/
Courtesy Roberto Benavidez and Perrotin
)
Exhibition view of "Bosch Beasts"
(
Paul Salveson
/
Courtesy Roberto Benavidez and Perrotin
)
It’s hard not to smile when you’re surrounded by the brightly colored, whimsical world that has taken over the gallery. But there’s a darkness underneath these creatures, as well, which speaks to the artist’s own struggles growing up as a self-described “half-breed, South Texan queer.”
“I like creatures that are kind of cute but eerie,” he said. “I grew up Catholic and gay, so there was this ever-present idea of sin.”
The piñata became the medium where Benavidez brought together these two worlds — handcrafting each stage of these sculptures using traditional piñata processes.
"Bosch Beast No. 14," 2025
(
Paul Salveson
/
Courtesy Roberto Benavidez and Perrotin
)
Benavidez got his start in the art world after moving to Los Angeles and taking painting and drawing classes at Pasadena Community College while working full time. He experimented across different materials, focusing on bronze casting and sculpture before turning his focus to piñatas. They were the perfect medium for Bosch’s creatures to come to life — and his connection to Bosch is deep-seated. “When I grew up, there was no internet, I grew up in the sticks, but we had a set of encyclopedias. The imagery of the 'Garden of Earthly Delights' has always been in my head.”
Traditionally, piñatas feature seven stars, symbolizing the seven deadly sins, a motif the artist often brings into his work. In the case of “Bosch Beast Number 14” — the nod is more subtle.
“In the past I wanted it to be obvious, whereas this one, I just liked the idea of incorporating those seven spikes,” he said. “My goal for all of these is to captivate viewers with beauty. I don’t necessarily need them to see these underlying concepts. It’s just more for me.”
He doesn’t give his works clever names, but some — like "Bosch Beast Number 14" — have been given their own monikers by his fans.
“I think people started calling [this one] ‘Pikachu” because it reminded them of Pokemon.”
There is a lot of humor in Benavidez’s work — and he is in on the laugh.
“I think it's kind of funny that that's a part of the history of the piñata that nobody ever thinks about. Nobody ever thinks about it as a religious symbol. I'm not making fun of religion or sin. I think mainly it's absurd to me, and I just like the visual aspect of it. It can seem like a little punk creature.”
"Bosch Bird No. 12," 2025
(
Paul Salveson
/
Courtesy Roberto Benavidez and Perrotin
)
There’s also a little secret hidden inside each of the works — a nod to the tradition of bursting of a piñata — a treat left by the artist only for the future to find.
The accessibility of the materials Benavidez works with means that it’s a craft he believes anyone can do; he’s taught numerous piñata-making workshops around the area and has seen his students achieve incredible results. Perrotin Gallery director Jennie King said that’s part of what she’s enjoyed seeing as people visit the exhibit.
“Anyone can get glue, paperboard, crepe paper — and yet they have a real jewel-like feel," she said. "And they really do inspire a kind of wonder, I think, in the viewers for that combination.”
Details
Perrotin Gallery 5036 W. Pico Blvd., Los Angeles Show on display now through Oct. 18; the gallery is also showing Danielle Orchard’s show, "Firstborn."
