Eduardo Cabrer’s practice centers on two-dimensional geometric painting on wood and linen. Working with hard-edge forms and saturated color, Cabrer explores how flat surfaces can suggest spatial depth, movement, and architectural tension. His compositions operate as visual systems in which precision and balance coexist with emotional instability and perceptual shift.

Cabrer’s work engages the legacies of modernist and Latin American abstraction, drawing influence from artists such as Ellsworth Kelly, Carmen Herrera, Lygia Clark, Sol LeWitt, James Turrell, and Dan Flavin. While grounded in minimal and conceptual traditions, his practice emphasizes material presence and process. By painting directly on wood and allowing grain, edges, and structure to remain visible, Cabrer introduces a tactile and human dimension into an otherwise restrained visual language.

Prior to arriving at his current body of work, Cabrer developed a multidisciplinary practice that included figurative painting, mixed media, and sculptural experimentation using materials such as resin, fiberglass, concrete, and found objects. Early works often drew from childhood memory, personal narrative, and social observation, establishing a sustained interest in perception, identity, and emotional architecture. These formative explorations continue to inform the sensitivity, restraint, and structural awareness present in his geometric compositions today.

Cabrer has participated in artist residencies at Vermont Studio Center in Jamestown, Vermont, and at the School of Visual Arts (SVA) in New York City. These experiences provided critical time for research and experimentation, allowing him to refine his visual language and engage in dialogue with an international community of artists.

He has exhibited widely in Puerto Rico and beyond, presenting work in solo and group exhibitions at galleries, cultural institutions, and alternative art spaces. In recent years, Cabrer has also become known for his curatorial and community-driven initiatives, including collaborative exhibitions and fundraising projects that support arts education and mental health organizations. Rescate Colectivo, for example, brought together more than twenty artists in a collective effort to raise funds for La Liga de Arte de San Juan and Fundación Cortés, reinforcing his belief in art as a tool for social connection and care.

In addition to his studio practice, Cabrer has served as a professor at Universidad Interamericana de Puerto Rico, where he taught foundational art and design courses. His commitment to education reflects a broader interest in mentorship, dialogue, and the transmission of artistic knowledge across generations.

Rooted in the Caribbean, Cabrer’s use of color and rhythm reflects a cultural landscape shaped by movement, resilience, and layered histories. His paintings function as spatial meditations—inviting viewers to slow down and experience abstraction as an emotional and perceptual encounter rather than a purely formal exercise. Across both his artistic and community work, Cabrer continues to explore how structure, vulnerability, and perception intersect, positioning geometry as a site of introspection and human connection.