Traditionally, the term “Todo poderoso” has been reserved to refer to God: a supreme, omnipotent figure capable of everything. It is an intangible entity that transcends the limits of time, the body, life, and death. However, what happens when we bring this concept into the human realm? Can someone made of flesh and bone, with flaws and limitations, also be considered todo poderoso?

TODOPODEROSO, the solo exhibition of Joshua Nazario, takes off from this question to reinterpret the idea from a human perspective, celebrating both public figures and everyday people. Through a series of paintings and sculptures in wood and cement—materials recurring in his practice— Nazario places musicians, athletes, and workers at the feet of the divine. These figures are not sanctified by their perfection, but by their ability to resist, transform, and remain steadfast in the face of adversity. From athletes who challenged their own bodies to highlight Puerto Rico in the eyes of the world, to musicians who redefined musical history, and workers whose labor has sustained generations, TODOPODEROSO invites us to see the sacred in the everyday, the admirable in the imperfect, and the power in the common.

At the heart of the exhibition is a series of twelve saints —twelve illustrious figures now deceased— inspired by the popular saying: “Ningún vivo es santo hasta que muere”.Among them are Héctor Lavoe, Blanca Canales, and Roberto Clemente, represented not as untouchable icons but as real beings whose virtues, struggles, and contradictions still resonate today. Each is portrayed through the quality that most defined them in life, aiming to show those virtues —whether good or imperfect— that make us who we are. In the context of MUSAN, TODOPODEROSO is presented as an invitation to reflect on whom we admire and why: whether it be God, an athlete, a musician, or an ordinary person. It is not about replacing the divine, but about recognizing the extraordinary in the human.

“Joshua Nazario is just 23 years old, but his display at Embajada has a gravitational pull. The Puerto Rican artist, based in a rural part of the island, uses what materials he has at hand to craft his folksy creations that celebrate sports, cars and local life. Oversize plywood cutouts of helmeted racers’ heads lend them an almost mythic stature, and a collection of canvases of various teams’ jerseys lets you appreciate variations on a theme while also subtly noting that behind our divisions we can find unity in common interests. His painting of a cyclist blows his legs up to outlandish proportions, reminding us of the ways athletes focus on certain parts of their physiques to meet the unique needs of their sports, while a group of painted-cement championship rings proves there is much to celebrate in even the humblest materials.”

Excerpt from WSJ article by Brian P. Kelly.

Over the month of March, Joshua Nazario focused on a new body of work depicting his signature sports figures, jerseys and Puerto Rico scenes, all to be presented at his solo presentation along EMBAJADA at NADA New York 2025. Over the course of his stay at the residency he completed 20 paintings, 25 painted/sewn jerseys and 17 wooden works, including cutouts and sculptures.

The booth by EMBAJADA presented works from Ada del Pilar Ortiz, Radamés “Juni” Figueroa, Margaux Ogden, Nora Maité Nieves, Georgina Treviño, Lulú Varona and Joshua Nazario.

EMBAJADA is pleased to announce artist Joshua Nazario’s debut solo exhibition, ORO (gold), on view August 28 – October 12, 2024. Oro (gold) challenges the concept of luxury through the juxtaposition of Puerto Rican culture against symbols of opulence and competition. Gold, typically a symbol of status and achievement, is now presented through the beauty of the often overlooked everyday life. The body of work on view was made over the last two years mostly in Nazario’s childhood home in Sabana Grande.

Nazario’s active childhood—ranging from mountain bike races to basketball tournaments and skateboarding has profoundly influenced his artistic approach. This background in competition is reflected through depictions of champion players in various sports, including motorsports. For Nazario, race cars and motorsports not only represent the essence of competition but also embody luxuries that are foreign to his upbringing and culture. In contrast, the luxuries he and those in his community value are found in everyday scenarios, nature, food and people. Nazario often puts himself in the position of the winner and the bearer of luxury as a means to represent those from less affluent backgrounds as champions.

The sculptures on view utilize common materials such as concrete, wood and found materials sourced locally. By repurposing quotidian materials, Nazario creates a dynamic dialogue between tradition and modernity. Nazario also references aspects of popular culture such as “la fiebre”—where common and affordable cars are tricked out with loud pipes and speakers to play a variety of Caribbean genres like reguetón, bachata and salsa. Oro (gold) invites us to reconsider what we perceive as gold—that being through common cultural elements of Puerto Rico, competition and foreign elements of luxury. Nazario taps into our collective memory to relive experiences that are still being experienced to this day.