After studying philosophy and arts at the Complutense University of Madrid, he worked on the permanent collection of the Hispanic Society of America in New York. At the same time, he signed up at the Art Students League in Barcelona before settling there. In 2016, he became an assistant to artist Nick Devereux and then moved to Paris. After being part of the ChezKit collective where he shared a studio, he decided in 2022 to take over his studies by joining the Beaux-Arts of Marseille.
Marcos Uriondo develops a protean work - drawings, paintings, collages, sculptures, installations - reflecting the diversity of themes that he explores with seriousness and humour: landscape, nature and new technologies, artist's condition, working world, food…
In his early works, he shows an interest in glitch artifacts and digital aesthetics, such as "Textos" (typewriter drawings) and digital landscape paintings named after html color codes. He continues this research in hybrid paintings, focused on the perception of space, in which he seeks to reconstruct familiar places through memory and imagination. Designed after a preparatory work on computer by combining 3D models and collages, they juxtapose neutral spaces, snippets of natural elements (sky, earth, forest, stump) and stylized geometric figures that contrast with photographs, projections or pieces of figurative paintings. As a move towards abstraction, the series of paintings "Jeu de mains" tends to fragment the reference to the landscape in favor of sensations, geomorphological forms or natural objects deformed to the extreme, in a game between geometric and organic, solid and fluid.
At the beginning of the 2020s, he executed artworks combining texts, everyday objects and organic matter. Staged in The exhibition that I would have liked to do, they offer an absurdly poetic story, like a mise en abyme of his condition as a young artist struggling with the constraints of bilingualism and the professional world. The myth of Silicon Valley is the subject of various works, such as cryptocurrency hand spinners called "Lilies of the Valley" (resin and aluminum sculptures), "Stories Highlights" (oil paintings on iPhone shaped wood) and the "Stress" sculpture (silicone, inflatable letters and Monster cans). In this corpus, Marcos Uriondo questions the new human condition, the way of consuming and working in the age of hyper-productivity and high-tech.
In his studio at the Beaux-Arts, he creates very realistic food sculptures in resin and paint - pizzas, döner kebab - which become metaphors for student precariousness, junk food and, its corollary, the amount of waste generated by this industry.