Eduardo Cabrer (b. 1976, San Juan, Puerto Rico) is a Puerto Rican visual artist whose multidisciplinary practice explores the relationships between geometry, color, light, movement, and perception. Working across painting, sculpture, and photographic processes, Cabrer investigates how precise geometric structures can evoke spatial depth, emotional resonance, and a sense of movement. His work reflects an ongoing search for equilibrium between order and vulnerability, physical presence and illusion, and the visible and the perceived.

Over the past several years, Cabrer's practice has increasingly focused on geometric abstraction, informed by the legacies of modernist and Latin American artists such as Ellsworth Kelly, Carmen Herrera, Lygia Clark, and Sol LeWitt, as well as the investigations of light and perception associated with James Turrell and Dan Flavin. His hard-edge paintings on wood and linen employ saturated color, sharp angles, and carefully constructed geometric relationships to challenge the boundaries of the painted surface. By allowing the natural grain, edges, and material qualities of wood to remain visible, Cabrer introduces a tactile dimension into compositions defined by precision and restraint.

His ongoing series Introspección examines the relationship between internal experience and external perception. Through the interplay of geometric planes, color, and spatial ambiguity, the paintings invite viewers to question the relationship between what they see and what they believe to be present. Beneath their formal clarity lies a continued engagement with memory, identity, and the complexities of human experience.

A significant development in Cabrer's practice emerged from a sequence of black-and-white photographs of his wife, Silvia, twirling against the horizon. Inspired by the movement captured in these images, he began experimenting with bands of paper, rotating them to observe how light transformed their color and perceived form. These investigations led to the creation of suspended aluminum mobiles, in which geometric planes interact with gravity, movement, light, and shadow to produce compositions in constant transformation.

This exploration also informs Las flores que nunca di, a series of paintings that translate the angular configurations of these paper studies into two-dimensional compositions. Through carefully controlled relationships between color, light, and shadow, Cabrer creates the optical illusion of geometric forms physically occupying space. Together, the paintings and mobiles establish a dialogue between stillness and movement, representation and physical presence. His experiments with cyanotype further extend this investigation, allowing light itself to participate in the creation of the image.

Before developing his current geometric language, Cabrer worked extensively with figurative painting, mixed media, found objects, and sculptural materials including resin, fiberglass, and concrete. Frequently informed by childhood memories, personal narratives, and social observation, these earlier works established an emotional and conceptual foundation that continues to inform his practice.

In October 2026, Cabrer presented a solo exhibition at the Metropolitan Campus of Universidad Interamericana de Puerto Rico, bringing together recent explorations in geometric painting, suspended sculpture, and works from his Introspección and Las flores que nunca di series. The exhibition offered an opportunity to consider the evolution of his artistic language and the recurring relationships between balance, memory, movement, and perception.

His selected solo exhibitions include PROYECTO: EC2025 at Constructo (2025), Introspecciones at I am Art (2024), Confabulaciones de la Infancia at El Cuadrado Gris (2021), and Concretamente vacío at Universidad del Sagrado Corazón (2019). His work has been presented in exhibitions and cultural institutions throughout Puerto Rico, the United States, Latin America, and Europe, including the Museo de Arte de Puerto Rico, Museo Francisco Oller, and Museo de las Américas. Through the U.S. Department of State's Art in Embassies program, Cabrer's work was placed on a multi-year loan at the U.S. Embassy in Panama, extending the presence of his artistic practice into an international diplomatic setting.

Cabrer holds a BFA and MFA from George Washington University and has participated in artist residencies at the School of Visual Arts in New York City (2016) and Vermont Studio Center (2017). In addition to his studio practice, he has taught in the Department of Design at Universidad Interamericana de Puerto Rico and serves as Vice President of the Board of Directors of Liga de Arte de San Juan. Through initiatives such as Rescate Colectivo, he has supported collaborative artistic projects benefiting arts education and mental health organizations.

Based in Puerto Rico, Cabrer continues to explore the expressive possibilities of geometric abstraction across materials and dimensions. Whether through the stillness of a painted surface or the shifting configurations of a suspended mobile, his work invites viewers to slow down, reconsider their perceptions, and discover the emotional possibilities that exist within geometric form.