- Following 2.1K
- Followers 6.7K
- Engagement 2.03%
- Avg likes 136
- Avg comments 15
About Natalia Ocerin Gomis
Natalia Ocerin Gomis (@nataliaocerin) is an Artist creator on Instagram, also filed under Art & DIY. The account has 6,679 followers and 256 published posts. Recent posts average 136 likes and 15 comments, an engagement rate of 2.03%.
Natalia Ocerin Gomis belongs to the nano tier, the band usually drawn between 1,000 and 10,000 followers. Natalia Ocerin Gomis follows 2,075 accounts, so the audience is roughly 3.2 times the size of the list followed. Natalia Ocerin Gomis carries Instagram's verified badge and uses an Instagram professional account. Flinque files Natalia Ocerin Gomis under Artist, with Art & DIY as a secondary category.
The Instagram bio for Natalia Ocerin Gomis runs to 8 words across 4 lines. Emoji sit alongside the words. The latest activity Flinque has on record for Natalia Ocerin Gomis dates from September 2024.
Story Highlights
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256 Posts
Of the 10 most recent posts shown for Natalia Ocerin Gomis, 8 are single images and 2 are carousels. That mix leans toward single images. 256 published posts give Natalia Ocerin Gomis a moderate archive on Instagram. Against the audience, that is roughly 26 followers for each post published. Natalia Ocerin Gomis also keeps 12 story highlights on the profile. All 10 carry captions, averaging 173 words each. The captions are written mainly in English. Words that recur across them include circle, dante, body, does and inferno. The captions tag #contemporaryart, #artcollector, #dante, #artcontemporary and #ceramic.
The Harpy guards the seventh circle of Dante’s Inferno, the forest where the souls of those who refused their own existence were turned into trees. The Harpy does not punish them. She feeds on their leaves, perpetuating their wound, ensuring that what was rejected can never return to itself.
This is the most contemporary image in the entire Inferno.
We live surrounded by an economy of self-rejection so refined it no longer recognises itself. The performance of self-loathing as personality. The endless commentary against one’s own body, one’s own choices, one’s own face. The cultural production that profits from women dismantling themselves in public, and the appetite, ours, that consumes it without ever feeling full.
The Harpy is not a monster from another time.
She is the algorithm that rewards self-destruction.
She is the voice we have learned to use against ourselves.
She is the appetite that needed our suffering to keep eating.
The figure here is ceramic — fired, permanent, glazed in pink and gold. She wears feathers in carnival colours. Her tongue is out. She looks almost happy.
That is the most disturbing thing about her.
We have made the punishment of self-rejection into something colourful.
Something we celebrate, something we share.
.
.
Ceramic, stoneware
30x40cm
#contemporaryart #ceramic #artcollector #artgallery #contemporaryceramics
There is a particular kind of madness in attempting to paint the entirety of human failure in a single canvas.
This is that painting.
190 × 145 cm. Nine circles. Every state of excess, repetition, blindness and paralysis that Dante mapped in the 13th century — built first in plasticine, constructed by hand over one month of scenographic work, then transferred to canvas with hyperrealist precision.
The structure is not decorative. It is architectural. The journey moves downward — as it must — from the surface world into progressively deeper and more deliberate forms of self-abandonment. What begins as distraction ends as ice.
What strikes most people when they stand in front of this painting is not the detail — though the detail is there, circle by circle, figure by figure. What strikes them is the recognition. The uncomfortable sense that the map is not historical. That the circles are not organised by century but by pattern. And that patterns, unlike centuries, do not end.We are not looking at the past.
We are looking at a diagram of the present,
painted in the language of the irreversible.
This work was the beginning.What is being built now goes further.
Dante. The Inferno — hyperrealist oil on canvas, 190 × 145 cm.
Constructed from hand-built plasticine scenographies.
The first chapter of a body of work in progress.
#contemporarypainting #artcollector #figurativepaintings #artinprogress #danteinferno
Dante’s Minotaur — guardian of the seventh circle, the circle of violence — does not destroy his enemies. He destroys himself. Consumed by a rage so total, so structurally permanent, that it has nowhere left to go but inward.
This is the most underexamined form of violence in contemporary life.
Not the violence that makes the news. The other kind — the one that operates in silence, turned entirely against the self. The person who cannot stop punishing themselves for something that cannot be undone. The rage that has forgotten its original object and simply continues, by habit, by muscle memory, by the sheer inability to stop.
We have built entire cultures of self-destruction and called them discipline. Productivity. Standards. The relentless consumption of one’s own energy, time, and worth in the service of a demand that is never satisfied.
The figure here is not a monster from mythology.
It is made of ceramic — fragile, permanent, precise.
Pink. Almost tender.
Dressed in the costume of something terrifying.
We recognise it immediately.Because we have all, at some point, been it.
Ceramic
This is a system.
Lucifer does not rage in Dante’s ninth circle. He sits — frozen, mechanical, eternal. Three mouths. Three traitors. An endless consumption that produces nothing, changes nothing, ends nothing.
What Dante described is not a medieval fantasy. It is the most precise image available for understanding how certain structures operate today.
Not through violence. Through repetition. Through the quiet, institutionalised consumption of those who dared to trust — digested slowly, efficiently, without drama, without acknowledgement.
We have built entire economies on this model. Organisations that feed on loyalty while producing the language of care. Systems that consume the people inside them and call it process.
The figures around him are not screaming.
They have already accepted the temperature.
The most dangerous circles are the ones that don’t look like hell.
The deepest circle of Hell is not the loudest. It is the quietest.
No flames. No screaming. No dramatic reckoning. Just ice — and figures embedded in it so completely that the cold has become indistinguishable from their own skin.
Dante reserved this place for the betrayers. Not the passionate, not the violent, not the weak — but those who calculated. Who chose, with full awareness, to destroy what trusted them.
What unsettles us about betrayal is not the act itself. It is the temperature at which it operates. It does not arrive in rage. It arrives in perfectly controlled stillness — in a handshake, in a meeting, in a smile that was already an exit strategy.
We know this cold. We have felt it administered by institutions, by systems, by people who used the vocabulary of loyalty while practicing its opposite.
The figures here are not being punished from outside.
They have become the temperature they created.
This is not a circle from another century.
This is a board meeting. A contract. A silence where a truth should have been.
#contemporyart #contemporarypaintings #dante #scenography #artdealer
It freezes.
Dante reserved the deepest place in Hell not for murderers, not for the violent, not for the lustful — but for those who betrayed trust.
This is the most precise moral diagnosis in Western literature. And the most contemporary.
We live in an era of structural betrayal. Not the dramatic kind — the quiet kind. The institution that protects itself over the people it was built to serve. The system that speaks the language of care and operates the logic of extraction. The relationship maintained for utility and abandoned the moment it becomes inconvenient.
Betrayal has been normalised to the point of invisibility. We have developed entire vocabularies to make it palatable — pivoting, restructuring, moving on, evolving priorities. We have made disloyalty sound like growth.
What Dante understood — and what this image holds — is that the deepest form of evil is not passion out of control. It is coldness by design.
The figure here does not rage. It does not suffer visibly. It simply exists in the temperature it created.
Some people are not destroyed by their enemies.
They are preserved, perfectly, in the ice of their own making.
Dante. The Inferno — nine circles understood not as medieval punishment, but as the precise architecture of how we fail each other. Still intact. Still operational.
#contemporaryart #artcontemporary #artwork #thehell #dante
This is not a heroic image.
It is a portrait of a condition so embedded in contemporary life that we have stopped recognising it as a problem: the systematic avoidance of position. The cultivation of permanent ambiguity as a form of self-protection.
We do not lack opinions. We lack the willingness to stand behind them. To be seen holding them. To accept the consequence of a declared point of view in a culture that has learned to punish commitment and reward endless qualification.
The figure that rises here is not a leader. She is simply someone who has stopped waiting for permission.
Around her, the others remain — not because they cannot move, but because movement would require a choice. And choosing, in a world that offers infinite options and demands infinite flexibility, has become the most radical act available.
To stand still by choice is different from standing still by fear. This work is about the second kind.
Dante. The Inferno is a body of work in progress — 12 large-scale hyperrealist paintings constructed from hand-built plasticine scenographies, transferred to canvas. The project moves through nine circles understood not as moral categories, but as persistent human states: patterns of excess, repetition and paralysis that structure contemporary life as precisely as they structured the 13th century.
The journey is sequential. It cannot be fragmented.
Falling is not the problem. Remaining is.
#contemporaryart #artcollector #artcontemporary #scupture #artcritic
In Dante’s Inferno, the lustful are condemned not to burn — but to be swept. An eternal wind that offers no ground, no pause, no end. Paolo and Francesca, bound by desire and betrayed by it, circle forever in the dark.
In this project, the second circle is not a moral verdict on love. It is a portrait of a particular form of loss of self: the one that comes from surrendering entirely to an external force — whether passion, another person, or an idea — and forgetting to return to oneself.
The body becomes storm. The storm becomes the body.
Dante. The Inferno is a new body of work in progress: 12 large-scale hyperrealist paintings constructed from plasticine scenographies, built by hand before being transferred to canvas. Each circle, a human state. Each state, still recognisable today.
— N.O.
A body that runs, repeats, insists —
without ever deciding where it stands.
Indecision is not neutral
Indecision is a position
Known for her hyperreal oil paintings of faux-naïf plasticine sculptures, Ocerin’s work masterfully addresses contemporary social and political issues, particularly focusing on identity and mental health.
Ocerin has been selected for major awards such as the BMW Painting Award (2024) and holds a master’s degree from Central Saint Martin’s and has exhibited globally.
We look forward to presenting her work at Untitled Art Fair in Miami this December. Natalia will have her first exhibition in May 2025 at gallery rosenfeld. Welcome, Natalia!
—
gallery rosenfeld
37 rathbone street
london
w1u 1nz
For further information, please contact
Natalia Ocerin Gomis's engagement
Natalia Ocerin Gomis's engagement rate on Instagram is 2.03%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 49 followers. Comments stay close to likes on Natalia Ocerin Gomis's posts, at 136 likes and 15 comments on average, about 9.1 likes per comment.
Engagement rate
2.03%
- Avg likes
- 136
- Avg comments
- 15
- Interactions : followers
- 1 : 49
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Frequently asked questions
These answers about Natalia Ocerin Gomis are generated from the Instagram profile data Flinque holds for the account.
Who is Natalia Ocerin Gomis?
Natalia Ocerin Gomis (@nataliaocerin) is an Artist creator on Instagram, also filed under Art & DIY. Natalia Ocerin Gomis carries Instagram's verified badge and uses an Instagram professional account. The Instagram bio for Natalia Ocerin Gomis runs to 8 words across 4 lines.
How many followers does Natalia Ocerin Gomis have?
Natalia Ocerin Gomis has 6,679 followers on Instagram (6.7K). Natalia Ocerin Gomis follows 2,075 accounts, so the audience is roughly 3.2 times the size of the list followed. 256 published posts give Natalia Ocerin Gomis a moderate archive on Instagram.
What is Natalia Ocerin Gomis's engagement rate?
Natalia Ocerin Gomis's engagement rate on Instagram is 2.03%, between 1% and 3%, or 1 to 3 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 49 followers. Comments stay close to likes on Natalia Ocerin Gomis's posts, at 136 likes and 15 comments on average, about 9.1 likes per comment.
What does Natalia Ocerin Gomis post about on Instagram?
Flinque files Natalia Ocerin Gomis under Artist, with Art & DIY as a secondary category. Of the 10 most recent posts shown for Natalia Ocerin Gomis, 8 are single images and 2 are carousels. The 10 recent Instagram captions Flinque holds for Natalia Ocerin Gomis repeatedly use the words circle, dante, body, does and inferno. Natalia Ocerin Gomis's captions carry hashtags such as #contemporaryart, #artcollector and #dante. Natalia Ocerin Gomis writes those captions mainly in English. Natalia Ocerin Gomis keeps 12 story highlights, which open with a free Flinque account.
How do I contact Natalia Ocerin Gomis for a collaboration?
Natalia Ocerin Gomis's contact details are not published on Flinque's public profile. The Instagram bio links to 5 external sites, and a free Flinque account opens those links. Brands with a free Flinque account can shortlist Natalia Ocerin Gomis and use Flinque's outreach tools wherever a contact route is on file.
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Public profile data sourced from Instagram. Flinque is not affiliated with Natalia Ocerin Gomis.