Last update, April 13, 2021
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)

Carbon Copy Collective
2019—August

Die Prosperous was the title of the third iteration of Carbon Copy Collective, held in a warehouse space in Austin, Chicago.

My contribution was a letter, a box with previous art pieces* and the same extension cord that I showed in Carbon Copy 2, this time, under the figure of the Ouroboros that works here as a metaphor of an infinite cycle of redoing, rethinking, and rephrasing our thoughts and ideas. As I was flying back from Chicago to Bogotá after 2 years, the letter expressed my thoughts and feelings around the collective itself and my friends and colleagues, to whom I gave total freedom to use the artworks on the box, in conversation with their work. About the extension cord (for me a recurrent leitmotif) it became an association of the snake eating its tail, literally recirculating its energy, as the collective has done.

* monochromatic paintings, objects, cut papers, and other remaining stuff, mostly from the projects “To light, and/ then return —” and Six Subtitles, Sixteen Weeks.

Die prosperous, Carbon Copy 3 

Instagram, vimeo
Bogotá––Chicago