The Los Cabos Abierto de Tenis is happening right now, which means there are players and fans experiencing what might be the very best ATP 250 as we speak. Even the poster is better (looking at you, French Open): the gold leaf-adorned artwork by CDMX artist Euri Lorenzo is magnificent, and makes us want to head South, pick up a poster, and frame it on the wall of our new home on the Sea of Cortez.
We spoke with Euri about her Mexico City workshop (taller) FERVOR, the concepts behind the poster, and her connection to tennis.
Racquet: Could you describe your work and how it relates to the philosophy of Taller FERVOR?
Euri: My background is in art restoration and industrial design, rooted in a deep-seated childhood interest in experimenting with different materials and understanding how they can be transformed.
My love for gold leaf began during my training as an art restorer and later became an important element in my work, as I had the opportunity to restore important antique altarpieces using the traditional gilding technique. While carrying out this important work, I began to wonder how I could bring this craft into other contexts and find more contemporary ways to use it.
That is how Taller FERVOR was born: a space to continue exploring the possibilities of gold leaf across art, graphic arts, design, and interiors.
Rather than simply using a historical technique across all these different contexts, I am interested in engaging in a dialogue with gold leaf; I am interested in understanding what makes this material so special, how it transforms light, and how it can still make sense in a world where slow processes and artisanal crafts are increasingly rare.
R: What is your relationship with tennis and the Baja California Sur region?
E: Tennis has always been connected to my family, especially my father. He played all his life, and for him, it wasn’t just a sport; it was a space to build friendships, work relationships, and community.
I fondly remember the almost ritualistic routine he went through before every match. Preparing, getting dressed, and getting ready was almost a ceremony, all carried out with an elegance that today reminds me of Wes Anderson characters. My father died from COVID during the pandemic, and in a way, this project brought his presence back to me.
I first discovered Baja California thanks to FERVOR. We first traveled there for an exhibition of our work at the Coffee Lab gallery. Since then, I’ve returned on various occasions in connection with new projects.
It is a place that always inspires me. The fact that the desert and the sea coexist and almost melt into one another, the diversity of its landscape, and the constant feeling of immensity in the vastness of its spaces make it feel like a territory where many stories and possibilities converge.
R: Geometric shapes and the recurring motif of a golden sun are central elements in this artwork. What do they represent? And what does the process of applying gold leaf mean to you?
E: The golden circle was the first piece that gave FERVOR a name, and it has since become a symbol that accompanies my work. In the studio, we call it the Inner Sun. It was born from the idea of capturing that light we discover when we pause, contemplate, and look inward. For centuries, the circle has represented unity, wholeness, and infinity. Having no beginning or end, it speaks of the continuous movement of life, consciousness, and the search for balance. For Carl Jung, it was an image of the self; for many cultures, a symbol of fulfillment and transformation.
Gold leaf translates that idea into matter. Its surface constantly changes with the light and the observer’s viewpoint, reminding us that clarity does not always come from the outside; it often appears in moments of silence and presence. Applying gold leaf is an exercise in patience and precision. It is an extremely delicate material that demands gentleness, but also decisiveness and experience. Each leaf is applied one by one, entirely by hand. It is a slow process that reminds me that some of the most valuable things need time to come to life.
R: Is there anything else you would like to share about this piece?
E: At first, I was very clear about the elements I wanted to integrate into this piece: the tennis court, the endemic flora inspired by Carlos Mérida, the Arch, the whales, and the characteristic architecture surrounding the tournament. However, I felt that the composition still hadn’t found a common thread. The elements coexisted but did not converse with each other. The solution appeared when I imagined the celestial vault as a huge tennis ball. At that moment, I understood that the sky could become the great unifying element of the piece. That idea ultimately gave the composition meaning and managed to connect the sport, the landscape, and the identity of Baja California Sur within a single artwork.
