I am Enio’s largest collector and active Patron. Simply put, this platform was created to tell our story and promote his artwork. Please find out more about Enio in the ENIO/Biography section. 


It has been an interesting journey since I first encountered Enio’s art in January of 2020 by pure chance while vacationing in Argentina. Ever since then, I have been an active supporter and early believer in Enio’s full creative and artistic potential. Beyond merely acquiring most of his early pieces, most recently I have assumed an active role in helping Enio enter the vibrant New York City art scene. Being a member of the Young Patrion’s Council at the MOMA has played a major role in my understanding of the Arts and the importance of Patronage. Under my guidance and sponsorship, Enio successfully applied for and secured a studio residency with the esteemed Martin and Lorraine Kaminsky program, housed within the historic Mana Contemporary building in Jersey City. Regrettably, due to timing constraints at the US Embassy in Costa Rica, Enio was unable to attend the spring semester residency in 2024. Despite this unfortunate setback, undeterred by circumstances beyond our control, and in recognition of the considerable effort put in thus far, I decided to give Enio a solo exhibition situated in the heart of Tribeca. Through a collaborative partnership with On the Fringe NYC Gallery, the exhibition is scheduled from July 10th to the 16th, 2024 at 72 Warran St. After accounting for On the Fringe NYC Gallery expenses, proceeds from the exhibition will be reinvested to ensure that Enio can transition into painting full time within a dedicated studio space. 


Pensofino is my creative fusion of the Spanish words “penso” and “fino,” which loosely translate to “having a fine thought.” This inventive term encapsulates what I consider to be a fundamental aspect of art. To me art better be thought provoking. For thoughts trigger emotions that give art its heartbeat. 


Engulfed in thoughts and emotions is how I felt upon my initial encounter with Enio’s “Ladron de Casa” and every one of his paintings ever since. I could not help but think about the symbolism that “Ladron de Casa” or “The House Thief” embodied. The connection to the painting was inexplicably instant yet I could not figure out why I was drawn to it so strongly. As l happened to find out later, Enio was raised by a single mother in his grandparents’ shack in rural Guanacaste Province in Costa Rica until he was 17. “The House Thief” is a self-portrait and a symbol of how he has felt inside every single place he has lived in during his entire adult life since leaving Guanacaste trying to survive on his own as a struggling artist. Feeling like a house thief in your own house. It all then made sense. I migrated to the USA when I was a teenager, and that strange in-limbo feeling is all too familiar to me. That was the connection, that is why the painting of an ugly house thief monster somehow spoke to me.    


Enio’s artwork can delve deep into your subconscious in a very subtle way because it comes from a very sincere and personal place. So pure that it holds nothing back; its shape, its honesty and disregard for the viewer’s potential reactions are borderline childish. It possesses such authenticity in its essence that it remains unconcerned whether it elicits joy, sadness, fear, anger, reverie, embarrassment, or a mix of them all. I have always felt an inexplicable strong connection to Enio’s artwork. However, it wasn’t until I met Enio in person in Costa Rica and witnessed his transformation of a tiny studio apartment, utilizing the back of his wooden wardrobe as an easel, that I truly began to respect his creations on a whole new level. His life revolves around it. He lives it and breathes it religiously. He is both naïve and fearless with his line and not embarrassed to please some of his artwork’s most obscure and strange desires. It all starts with small simple sketches which at a later time are tied to personal experiences, ideas, and distant musings from his extensive readings and investigative studies. As the little drawing graduates into a painting, it goes through a very volatile and erratic period where color pallets and lines fight and bleed to death before settling into strong unapologetic images. His artwork commands attention, yet it does not seek validation or present itself as anything special. Enio’s art simply relies on the viewer’s subconscious to fall prey to its undeniable primitive energy.


In closing, having come to know him personally, I can attest that Enio’s art is a genuine reflection of his character. It is this high level of sincerity, perseverance, and trust, embodied both in his artwork and personal demeanor, that compelled me to invest my spare time and resources into his future growth. I hope you find Enio’s artwork as intriguing and thought provoking as I do, and ultimately decide to join us at the early beginnings of this exciting new chapter.


The Patron.