Andrew Roberts (b. 1995, Tijuana, Mexico; lives and works in Mexico City) is a Mexican artist represented by Pequod Co., the Mexico City gallery founded in 2020. His multi-platform practice incorporates gameplay, role-play, and world-building. He creates digital animations (often using video-game software), installations, sculptures, and poetry that explore the material dimensions of horror, haunted spaces, colonial legacies, late capitalism, and geopolitical tensions between Mexico and the United States. He treats colonial agents as possessed images and examines how digital and technological systems intersect with bodies, death, and the undead.
Roberts is known for carnal silicone sculptures that evoke low-budget Mexican gore films, tattooed or prosthetic flesh, and zombie-like figures. Earlier work includes the 2020 Pequod solo We are sorry to notify you that due to the end of the world your package has been delayed (silicone pieces as “carnal prostheses” of the undead) and participation in the 2022 Whitney Biennial with related silicone works. Subsequent projects include the 2023 Tank exhibition (marine spectral monsters and silicone tracking marks addressing extraction and colonial tropes of the ocean), the 2025 MUAC solo Cadáver fantasma / Spectral Corpse (a video installation and related 3D elements about a 2006 zombie apocalypse featuring undead teenage gamers, linking pop culture, the war on drugs, and digital death), and the SCAD Museum show Haunted (also 2025), which used a Jack in the Box-inspired installation and animation drawn from border childhood memories. He has also shown at the 36th São Paulo Biennial, Museo Jumex, and elsewhere.
At Paris Internationale 2026 (the fair’s 12th edition, running roughly 19/20–24 October 2026 in a building at 187–189 Quai de Valmy in the Canal Saint-Martin area), Pequod Co. presented new work by Roberts. According to contemporary coverage, these are cyborg-like skeletons inhabited by demonic forms—skeletal hybrids that fuse technology and the supernatural. Drawing on horror aesthetics, role-play, gaming, and world-building, the sculptures explore haunted histories, colonial legacies, and Mexico–U.S. geopolitical tensions. They materialize a dark imaginary in which technological transformation gives physical form to mythological structures and archetypes, extending Roberts’ ongoing interest in the material consequences of digital systems, spectral entities, and systems of death and extraction.
These pieces continue his characteristic approach of translating digital or game-derived models and horror tropes into tactile, often silicone- or hybrid-based sculptures that make the immaterial (code, specters, corporate or colonial violence) feel bodily and present. Paris Internationale itself is an independent, gallery-led fair emphasizing experimental and emerging work; Pequod’s presentation of Roberts fit its focus on ambitious, critically engaged practices from Mexico’s contemporary scene.
