When Lee first came across Federico Herrero’s work through Maharam, he shared the idea of bringing Federico’s art to the Fulcrum Roastery in Seattle. That sparked my curiosity, and I began researching his work.
The first project that caught my attention was his transformation of Parque Vargas in Limón, Costa Rica. From there, I discovered his work at the Pelican Estate in London. Although these projects are thousands of miles apart, they share something remarkable: they transform everyday public spaces into places where people experience their surroundings in a new way.
For me, connecting with Federico became part of reaffirming Fulcrum's Trueline—the guiding line that keeps our organization aligned with its purpose and values, regardless of circumstances. Our work at Fulcrum is not only about products. It is about identity, community, and human relationships. We are constantly trying to understand who we really are as a brand and what lines we are not willing to cross.
In one of our conversations, I asked Federico about the relationship between his work, architecture, and public space. His work feels deeply connected to the places where it lives, so I asked how he decides when a piece belongs in a gallery and when it belongs in the street, a building, or a public space.
His answer stayed with me. He explained that different directions connect with life, and sometimes the space itself asks for the work. That is how he communicates with his environment.
I also asked him about color, because color is such a powerful presence in his paintings. I wanted to know whether he begins with emotions, memories, or the physical space when choosing a palette. He spoke about the landscape, the countryside, and the topography transmitting emotion. Like music, those places create internal vibrations, and he reflects those vibrations through his art.
Another question I asked him was how he maintains a recognizable visual identity while continuing to evolve and take risks. Many artists find a style and stay there, but Federico’s work continues to move. He said he tries to be guided by the work itself. It is a process, and you have to trust the process. You cannot define it too tightly or trap it. You have to stay connected to the process, avoid becoming stagnant, and continue going deeper.
That idea resonated deeply with me because it also reflects coffee. Coffee is a process. Farming, roasting, cupping, blending, and building relationships all require patience, trust, discipline, and constant evolution.
Our cupping lab exists in that same space between solitude and community. It is where I spend countless hours evaluating coffee, developing blends, and thinking quietly about our coffee program. At the same time, it is a place where producers, customers, and coffee professionals come together to learn, cup coffee, and share stories about the people behind every harvest.
As our conversations with Federico developed, what began as admiration for his work became a true collaboration.
One unexpected moment that strengthened our connection was talking about Nepal. As Costa Ricans, it is not unusual to be fascinated by cultures beyond our own, and we discovered a shared appreciation for Asian cultures. For me, that conversation was especially meaningful because my husband is from Nepal. It reminded me how genuine relationships often begin through simple conversations and shared curiosity.
The piece we collaborated around is Landscape. When I asked Federico about it, he explained that he was trying to transfer the mountains of Costa Rica’s Central Valley into the work: the small roads that descend through the mountain range, specifically near Barva Volcano in Heredia.
I immediately understood why the piece felt so familiar. Those roads are close to the ones I traveled hundreds of times near the neighboring volcano, Poás. The winding roads, coffee farms, brightly painted homes, lush vegetation, and the colors of everyday life are part of my own memory of Costa Rica. The more I looked at Landscape, the more I recognized what I think of as Federico's Trueline: the invisible connections between landscape, people, movement, color, memory, and place.
One of my favorite examples of his work is the swimming pool he transformed with color suspended beneath the water’s surface. People do not simply look at the artwork; they move through it. It becomes an experience rather than an object. To me, it represents freedom, openness, and a world without borders.
That vision closely reflects Fulcrum’s mission.
Coffee is our way of connecting people. Every day, we work with producers from different countries, cultures, languages, and traditions, all united by the shared purpose of caring for their land and providing for their families. Through coffee, we connect those farming communities with cafés, businesses, and people here in the United States.
Our collaboration with Federico Herrero reflects that same philosophy. It is more than bringing art into our cupping lab. It is about creating a space where coffee, culture, storytelling, identity, and creativity come together.
It reminds us that the relationships we build are stronger than the borders that separate us.
- Blas Alfaro, VP of Coffee @ Fulcrum Coffee Roasters
Beyond our cupping lab, Herrero's work can be found in museums and public spaces around the world, including the Guggenheim Museum in New York, Tate Modern in London, the Museum of Contemporary Art Chicago, and the Denver Art Museum. His vibrant installations have transformed cities and institutions across Europe, Asia, and the Americas, making this collaboration a meaningful opportunity to share a globally recognized Costa Rican artist's work with our Seattle community.
Follow his work @federicoherrero
