The Vertical Order is a philosophical structure widely spread in the ancient Vertical Kingdoms, where the law was governed by vertical deities. A collective imagination system that gave confidence to the inhabitants.

In the Vertical philosophy, all our acts and experiences are organized in social development through vertical hierarchies. There is no equality between any of the individuals. Each of them is unique and takes place in the rigid rectangle of verticality. Rejecting the common, each member of the order travels a sacred path in his life, being born vertical, he, she, will reach fullness as a square and die horizontally, in the west the body will be forever inclined. That sacred path is represented in all the formalities of this order. To keep order, the “verticals” (monks, pastors,) watch over the mark of the vertical hierarchy in each of the temples and altars of this thought.

Today few study the ancient writings of the Order, forgotten in the past. Eduardo Palomares recovers some of the oldest rites. Vertical writing has helped to understand more about the more formal structure of this philosophy. Vertical V, Vertical III, Vertical red are some of the works that the artist has created to bring us closer to verticality.

Vertical V ist ein neuer Altar im Osten der Kapelle der Katholischen Akademie in Bayern. Drei vertikale Rechtecke stehen stellvertretend für die religiöse und kulturelle Struktur des Westens.

Vertical  V. Altar consagrado en el este de la capilla de la Academia Catolica de Munich. Dedicado a la Orden Vertical. 


Vertical V. Altar consecrated in the east side of the Chappelle of the Catholic Academy in Munich. Dedicated to the Vertical Order. 

Facultad de Bellas Artes de Madrid. Mayo 2014.

A los olivos, cuna de nuestros miedos y deseos.


To the Vertical Order                        To Verticality   

In this Vertical VI in a hotel room, there is a chapel dedicated to verticality and its order created in the Vertical Kingdoms in 1616.

Eduardo becomes the conductor of these teachings and rituals to consecrate space to eternal nostalgic transcendence



Controlar una reacción, controlar la visión, controlar las emociones, controlar el tiempo, CONTROLAR EL CONTROL. 

Todo se convierte en un todo de experiencias que son trasladadas a imágenes, situaciones, escenas para llevar al observador a el momento elegido por mi. En ese preciso lugar lleno de objetos sacralizados a  la trascendencia imaginada, existe una comunicación entre el soy, el somos y el sois, y siendo ser estar en muchos idiomas, el donde, es entonces ser. Así el espacio toma una importancia extrema en la dialéctica de la obra de VICTORIA, en mi obra. Espacios que se mueven entre colores de simbologías anacrónicas y contemporáneas a través de lugares que te emocionan, que es controlado por EDUARDO. 

Un individuo que se comunica religiosamente en un pequeño templo, a el que camina por el caos de la capital del mundo. Del peregrino que recorre el camino que otros miles recorrieron, a el solitario paseo irregular que se descubre en una nueva ciudad, desde las construcciones imperiales hasta la más pequeña construcción de maderas , un compendio de situaciones antagónicas que se resumen en el soy y en el somos, en el estoy y en el estamos, en el sois, y en el estáis.


Control a reaction, control the vision, control the emotions, control the time, CONTROL the CONTROL.

Everything becomes a whole of experiences that are translated into images, situations, scenes to bring the observer to the moment chosen by me. In that precise place full of objects sacred to an imagined transcendence. There is a communication between I am, we are and you are. TO BE is in many languages being something and being in a place, therefore to be, means who and WHERE. SPACE takes extreme importance in the dialectic of Eduardo’s work, in my work. Spaces that move between colors of anachronistic and contemporary symbologies through places that move you, all controlled by me.

An individual who communicates religiously in a small temple, to which he walks through the chaos of the world's capital. From the pilgrim who walks the path that thousands of others traveled, to the solitary irregular walk that is discovered in a new city, from the imperial constructions to the smallest construction of woods, a compendium of antagonistic situations that are summarized in the I am, yo estoy and in the we are, estamos, I am , soy, and we are, you are, sois, somos, estias, and you are.


Eduardo Palomares
Eduardo Palomares
Eduardo Palomares


Vertical III The third Vertical structure consecrate to the Vertical Order. At the Art Akademy in Munich, 201  /Vertical III: wood: table, pedestal, 5 poles, box. Textiles: white, ultramarine blue, garnet. Wax: candles. Paper: painting.  Glass: three.

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Eduardo Palomares

  "Vertical VII Black Vertical"

 Graphite on paper.

 150 x 90

  "Vertical VII Black Vertical II"

 Black oil on paper

 150 x 90



 "Vertical VII Black Vertical III"

 Black ink on paper

 150 x 90 




Rojo- Azul- Oro- Madera- Blanco- Negro-

Tótem I, Tótem II, Tótem III, Tótem IV

Vela 1, Vela 2, Vela 3, Vela 4, Vela 5, Vela 6.

Clavo 1 y 2, Clavo 3 y 4, Clavo 5 y 6, Clavo 7 y 8, Clavo 9 y 10, Clavo 11 y 12.

Familia real britanica.








Installation. Faculty of Fine Arts Madrid. Made by Maria Del Carmen Molina and Eduardo Palomares. 

    May 2014