Roberto Murillo

Roberto Murillo | New Contemporary Figurative Drawing

Costa Rican artist Roberto Murillo builds his large-scale drawings from darkness. Working primarily in charcoal, he creates monochrome compositions where intertwined nude figures emerge from dense shadows, their forms partially revealed through dramatic chiaroscuro that extenuates psychological intensity.

Roberto's technical approach relies on chiaroscuro, employing dramatic contrasts between light and shadow to partially reveal his subjects while concealing others in dense veils of charcoal. The effect is intimate and mysterious, with figures appearing to cascade across the canvas or meld into darkness.

Drawing from influences including Eugène Delacroix, Lucian Freud and his background in literature, dance, and cinema, Roberto describes his contemporary figurative drawing practice as "a way to fill the void of existence and to find happiness in the process; it is intellectual and spiritual development." His subjects—often dancers and performers—become vehicles for exploring what he calls "the delicate balance between psychological and philosophical transformation."

MÍRAME co-founder Belinda Seppings (BS) spoke with Roberto (RM) about his confrontational approach to the figure and his recent experiments with gesso and mixed media.

BS - 1. There's something almost confrontational about the scale and intimacy of your work—these aren't polite nudes. What are you actually trying to make the viewer feel when they stand in front of one of these large pieces?

RM - As you say, they are confrontational for the audience. I think it seeks to make the public feel that it is being drawn from the abyss, and that this abyss could be their own. I think there is poetic beauty in this; I see no difference between my drawing and other artistic representations, especially in literature, that grow from the abyss.

BS - 2. You work a lot with dancers and performers, and there's this sense of arrested motion in your compositions—figures caught mid-gesture. Can you walk me through how you actually approach building one of these pieces? Are you choreographing beforehand, working from observation, or does the composition emerge as you're layering the charcoal?

RM - I study contemporary dance as much as possible, using partnering and butoh among others. I always direct the sessions, but there are also spontaneous dance segments, and I take literally thousands of photos, which is where your sense of figures being captured in a single image comes from. But this is only the beginning of the picture; the composition is highly intuitive, and the result is usually much more expressionistic than mimetic.

Butoh is a Japanese dance form that emerged in the 1960s, characterised by slow, controlled movements and often grotesque imagery that explores the darker aspects of the human condition. Its influence on Murillo's contemporary figurative drawing is evident in the psychological intensity and arrested movement of his compositions.

BS - 3. Charcoal is an unforgiving medium in some ways—immediate, difficult to correct. What draws you to it specifically, and how does working in monochrome affect the emotional temperature of the work compared to if you were working in colour?

RM - Charcoal is humble. It takes considerable skill to use. It's burnt wood, about as dirty as it gets. It lends a raw, dramatic quality, and my approach is to drawing, which charcoal is made for. It also contributes to a distinct graphic identity compared to what others do. However, I'm still practicing using color, so it's possible that colour will appear in my work soon.

This commitment to charcoal has defined Murillo's contemporary figurative drawing for years, though his recent material experiments suggest an evolution in his visual language.

BS - 4. You've been experimenting with materials beyond charcoal recently—I know gesso and ink have entered the picture. What prompted you to work with different materials, and how does working with these new materials change what you can do formally or conceptually?

RM - Yes, and I am very excited for this; for many years my work has been primarily charcoal. But that doesn't mean I don't enjoy using other mediums; the challenge lies in adapting them to my personal graphic style, which is so important to me. Gesso, ink, homemade chalk, and acrylics have all passed this test and are now incorporated into my new work. The result is more painterly—50% drawing, 50% painting, at least for now. The outcome is a more stylized product, with a wider range of values and a much more luxurious finish than simple charcoal.

BS - 5. What's next for you in the studio? Any upcoming projects you're working on?

RM - I'm staying very focused on the work itself and dedicating as little time as possible to other aspects that drain my energy, spending as many hours as possible in my studio while maintaining a low profile. I have an exhibition in September at the National Identity Museum in Honduras, which I'm very excited about, and I might also do a very intimate exhibition in Costa Rica to showcase some of my new work.

Roberto's contemporary figurative drawings carry a physical presence that demands to be experienced firsthand. The scale, the density of charcoal, the way light moves across these bodies—reproduction flattens what is, in person, a visceral encounter with the human form rendered without sentiment or apology.

We're looking forward to Roberto's exhibition at the National Identity Museum in Honduras this September, expanding his reach within Central America. Stay tuned for more information.

Roberto's work represents a vital contribution to contemporary Latin American drawing, grounded in psychological depth and technical rigor. Works are available through MÍRAME Fine Art.

For inquiries regarding available pieces, commission opportunities or to receive more information about Roberto's practice, please contact Belinda Seppings at MÍRAME Fine Art. You can also visit Roberto's MÍRAME artist page.

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