Visual Artist (1984) based in Santiago de Chile.
In Mañana es mejor, Benjamín Ossa opens himself to uncertainty as his material of preference. He pursues it materiality after materiality, turning grids into games. Letting go, exposing himself vulnerable, allowing the "I don't know" of mystics to emerge and materialise. Letting go of certainties, he assumes the vertigo of what is not destined. In Mañana es mejor, the recurring forms of Ossa's compositions reverberate in his intimacy and return as affirmative echoes, redefining his work with greater affect