Natalia Ocerin (b. 1989, Sagunto, Spain) is a Spanish contemporary painter based in London whose practice explores constructed realities through hyperreal oil painting. Working from hand-sculpted plasticine models that she arranges into staged scenes, she translates these fragile, tactile constructions into meticulously rendered trompe-l’œil paintings. Her work combines humour and unease to examine themes such as identity, mental health, consumer culture, and the psychological structures of contemporary life.
Ocerin trained in Spain at the Universidad Politécnica de Valencia, where she completed a degree in Fine Arts, before continuing her studies in the UK at Central Saint Martins, University of the Arts London, where she undertook an MA in Fine Art. She has received numerous accolades, including selection in the VI edition of “Mujeres Mirando Mujeres” and multiple honorable mentions in international painting awards. Her work is held in private collections internationally, particularly across Spain, the United Kingdom, and other parts of Europe.
Her work has been shown internationally in solo and group exhibitions across Europe and the United States. A major recent presentation was her Spotlight booth at Untitled Art, Miami Beach (2025) with the gallery, where she presented a solo-focused installation of new paintings alongside preparatory sculptural maquettes. The presentation highlighted her distinctive process-based approach and introduced her work to an international fair audience within a curated institutional section of the fair.
A key solo exhibition was Parrhesia (2025) at the gallery in London, in which she transformed the gallery space into an immersive theatrical environment exploring power, truth-telling, and psychological performance through sculptural-painterly installations. Ocerin is currently developing a new body of work titled the Dante’s Inferno series, in which she reinterprets Dante Alighieri’s Divine Comedy through her signature constructed sculptural tableaux. The series extends her exploration of psychological states and moral systems, translating classical allegory into contemporary scenes that merge theatrical staging, distorted figuration, and surreal spatial constructions.
Across her practice, Ocerin constructs psychologically charged visual worlds in which playful surfaces conceal complex reflections on control, vulnerability, and perception.