Last update, October 12, 2021
Unperfect Lovers
Project (in progress)
2021—January > Present

This series of couple-paintings alludes to affective relationships and their possible synchronicities or disagreements. Their format and the process itself, which is an expressive drift without a preconceived image that then, little by little, transform into a quiet image, acts as a mirror or a metaphor for these human bonds. The complete project will include between 12 and 15 diptychs along with a book containing poems by Colombian writers inspired by the paintings, as well as a fictional text made out of love letters and other written material. The title refers to the work of Felix González-Torres Perfect Lovers consisting in two clocks that mark the same time. In this case, the works question that idealistic idea of love and aim to think of connections that, on the contrary, are based on differences.

Artbo 2021 / Upcoming exhibition soon 

Exhibition based on a road trip I did in June 2019, from Chicago (starting at the main entrance of the Art Institute) to the Santa Monica Pier in Los Angeles, following the mythical and forgotten Route 66. This cult adventure, half sentimental and half anachronistic, which lasted 25 days and implied 6000 miles of driving, meant for me the end of a cycle that encompasses artistic, personal, ideological, and cultural processes. The show consists of a double installation in which, besides the autobiographical note, two contrasting views of the United States are mirrored. On the one hand, the idealization of travel, road aesthetics, landscapes, sunsets, advertisements, cars, and gas stations; and on the other, a culture in decline, between sad and melancholic, that is well represented in the motel rooms with cigarettes smell and in the life of all the people forgotten by the system. Metaphorically, this duality also represents much of who we are, facades versus interior ghosts.

Solo exhibition at 12:00 Gallery

Duo Show
2019—October
Collaboration with the artist WooJin Shin across the chasm of time and space between Chicago, IL and Bogotá, Colombia. Our discussion first focused on the desert, but this line was dry. An oasis, perhaps, but this thought drowned in its overtness. In between the desert and the oasis we found relief from the concrete. We conjure and spy what seems like material certainty, but such sureness quickly revealed itself to be a mere illusion. Alas, we came to the fabled, desert mirage, and in this shifting and unstable site, found the ideal environment to codify our exhibition. Here, our artistic practices seek to root themselves in the pursuit of higher notions, even as we undermine these potential and ideal realities. Mirage appears to be an exhibition of paintings, videos, and on-site interventions. Upon approach, these discrete practices merge, recede, and give way to collective searching and uncertainty.

Project with WooJin Shin, 4th Ward Project Space

Project / Duo Show
2019—September
This project started as a dialogue with the pictorial work of the Antioquian artist Alvaro Marín, who has been exploring the geometric figure of the square throughout abstract paintings, since the early '70s. For this, I did 4 works (or sides of the problem). Two cylinders that depending on the angle can be viewed as a circle or a square, which is a diagram used to explain that light –essential for painting– can be at the same time a wave or a particle. A series of photographs from Nancy Holt's sculptures Sun tunnels –that reminded the previous cylinders– but also digitally threatened to explain the passage from the analogic grain of the photographic paper to the pixels of the screen. A wood structure simulating a rotatory door (once again recalling the cylinder) made out of modular canvases and, finally, a broken painting referencing the idea of flatland and a granite floor. All the pieces challenge the association and historic relationship between the square and its opposite, the circle.

Project with Alvaro Marín, Lokkus gallery
Woodwork: Juglans & Regia

Work
2019—March > October
Beetle in a box, also known as the private language argument, was coined by the Austrian philosopher Ludwig Wittgenstein to explain the difficulty that human beings have to understand what goes through the minds of others. This, because when we express ourselves in public, thoughts are inevitably mediated by language or other forms of communication. So this work, composed of 10 paintings that together and stacked fit in a yellow cubic box, tries precisely to reflect on this paradox. That is why once out of the box, they do not have a single way to be installed, but, on the contrary, they respond to a puzzle game in which the wall and an imaginary grid of 4 rows and 6 columns, serve as support. The 10 paintings were done with all the remainings acrylics that I used during a 2 years MFA program at the Painting and Drawing department of The School of the Art Institute of Chicago. Symbolically this condenses all that academic experience into layers and layers of paint that I could travel with.

Artbo (Bogotá art fair)

Instagram, vimeo
Bogotá––Chicago