Last update, April 13, 2021

This playful exercise is the way that we found with Juliana Góngora to start a dialogue and imagine possible routes of collaboration between our works. The setting for this meeting is a game that follows arbitrary instructions, such as randomly choosing a product from a food dispenser. Then, we choose the image of the turtle to open new paths of thought and unexpected drifts in our processes: thinking materially about its shell –which is an exposed bone that is formed from the spine outwards, but looks like a stone–, in the relativity of time, the idea of movement, among others. Do more weight and less speed implies a lighter body?

Project with Juliana Góngora, Artbo fin de semana

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

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 

Carbon Copy Collective
2019—May

For the second iteration of Carbon Copy, we decided to do a one-day show at a private alley (in Pilsen, a Mexican-Latino neighborhood in Chicago) where about ten apartments intersect. The shape of this place was the one of a p, or a b, or a d, or a q, depending on the rotation of each letter. My contribution to the exhibition was 4 printed images depicting 4 French words: detour –a deviation from the original course–; parcours –a route or direction without obstructions–; boucle –a loop (which is also the name given to Chicago’s Downtown)–; and quiproquo -word game, funny misunderstanding or replacement of one subject for another (mainly in the theater)–. The intention was to reinforce the strange structure of the architectural space and, at the same time, enlist 4 possible ways of thinking. In that same spirit, the fluorescent green extension cable that serves to power on the lightbox where the prints are hanging also follows an absurd parcours, boucle, and detour from the interior of the basement to the exterior, emphasizing the proposed word game but maintaining its main function –conduct electricity–.

þ, Carbon Copy 2 

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Bogotá––Chicago