The work of Matias Paradela, AKA, Niño Grande begins with expressionist painting and POP figuration.  Still, he has his own voice in which drawing, caricature, and colorful gestures are combined to gradually build a language differing widely from the rest of Bolivian painting,  thus beginning a new cycle.

His work comes to the stage in a moment of painting crisis, which has managed not to disarticulate itself from the profound influences of post-war American painting by creating a discourse that embraces abstraction without completely separating from it. His work highlights moments, including popular allegories and the peculiar Bolivian gas tanks combined with playful faux naive.

The gas tanks are present in his work from 2019-2020, and trigger discussions around a very current topic; that is the fusion/combination between local and global.  A problem very present in the art of neighboring countries since the 80s, Bolivia has been experiencing this tension for only a decade.