Before Kaos Garden, we had admired Okuda San Miguel from afar: abandoned churches turned into rainbow temples, old factories covered in prismatic animals, giant sculptures landing in city squares. He was taking forgotten, neglected spaces and turning them into playgrounds for the imagination, exactly what we try to do with elrow when we transform neutral rooms into temporary worlds.
His mix of sacred geometry, pop symbols and street attitude felt like the perfect bridge between Bosch’s universe and our dance floor. When we finally sat down together, it was clear we were not asking him to “decorate” an elrow theme, we were inviting him to build a full show with us, to treat the club as another of his large‑scale canvases rather than a backdrop.
From the first conversation, Okuda didn’t see Kaos Garden as “just another theme”, but as a chance to translate his relationship with surrealism and his love for artists like Dalí and Magritte into a living environment.
Years painting abandoned railroads and factories in Santander had taught him that chaos is not a problem to be solved, but the freedom to choose your own path and enjoy the journey. “Let’s do it our way” became the heart of the project: Kaos Garden would not be a literal reenactment of Bosch, but a new Garden filtered through Okuda’s language: rainbow geometric architectures instead of medieval landscapes, faceless bodies instead of Renaissance figures, hybrid creatures and sacred symbols instead of classical demons.
The result was a pop‑surreal ecosystem where the contradictions of our time (capitalism and cosmos, nature and the manufactured world, illusion and truth) could share the same dance floor instead of fighting for it.
