David Espinosa’s work is questioning the idea of performing through a research about theatrical limits, and manipulating the elements of the “stage equation”. Keeping a critical spirit, full of irony, about society and the art world, he tries in every creation to develop a formal game that surprises the audience and make him participant in the viewing of the piece, exposing crudely mechanisms and approaches of the work, away from tags, always in the middle of visual art, dance and theatre.

His personal work began transiting the borders of the body and the word, introducing technology as a scenic tool, to later replace the actor, the physical presence, by the use of the object. Interested more and more by the creation of meaning through the relationship between form, light and sound, he has delved into the performing concept proposing devices that through precarious methods and “low tech” generate sophisticated effects loaded with theatricality. Adult toys, which provides one particular experience where the ludic or recreational component is as valuable as the artistic discourse, handmade and homemade, following the “do it yourself” doctrine to approach contemporary creation to the citizen, avoiding sublime, elitist and endogamous artist image.


A universal story (2018)

Much ado about nothing (2014)

My great work (an ambitious project) (2012)



The Triptych (2017)

La triste figura (phantastische variationen über ein thema ritterlichen charakters) (2015)

Hekinah Degul (2013)



Des-concert nº1 for keyboard and loser (2011)

The processing (2010) (2009) (2008)

Summertime (2008)

Desaladas Club (2007)

Private property (2005)