In the beginning
3rd Module Gallery, 412 E 79th St, New York, NY 10075,
Friday, June 18th 5-9pm and by appointments via email@example.com thru Monday, June 28th, 2021
The paintings that are part of this show are open iconographies, permanently intertwined with the wall and the physical world that surrounds them. Each of these iconographies is born to give birth to myths not yet written, and to reveal narratives that have remained silenced or have been hidden. By renouncing the frame, instead of describing, the artist leads us to penetrate particular aesthetics that reveal experiences and emotions that have been, are, or could be.
That being so, the paintings are more than objects themselves, they become connectors of worlds; seeds where the materiality of the object (the acrylics, oils, resins, the sewing of the fabric, the wire) is interwoven with the images that pass through it, and in that amalgam we find ourselves immersed in a new creation myth that illuminates the power of tropical ecosystems that the artist has made tangible to our senses.
Each painting seems to suggest an infinite space as a reflection of tropical nature, its queer essence, and its variability. In the Beginning, then, reveals a new way of perceiving, where the observer is called to relate intimately with each painting to see the beginning of a past, a present, and a future that have never seen the light before.
My art celebrates queer sexuality, refers to the physical and conceptual diversity of the tropics, and exists due to the interconnectivity of the immaterial world as a non-object. My practice is informed by the work of Pre-Columbian goldsmith masters, the Queer identity that I have chosen from my time in the world, the cultural heritage of the mountains in the Tropical Andes, and the dwelling knowledge of the matrilineality to which I belong.
My art aims to give visibility to the aesthetics of my cultural background, the collective history of the communities that have shaped my present, and the ecosystems that have given me life. In other words, I look for activating a cultural reality that otherwise might be lost, and in doing so I aim to expand the visible world. My work is a process of decolonization throughout memory and imagination.
Under this sensibility, the object of art does not attempt to register events but to be part of them. My art is tropical as it doesn’t intend to represent reality but to tangle in it. It connects images rather than representing them. It hopes to enrich realities rather than depicting them. It is about framing and grasping rather than displaying.
First, I envision an image I intuitively follow and write poetry to clarify it. I sketch it to make it visible. Poetry and sketching are fundamental for my painting process because they have the capacity to connect the information brought by the body in form of sensations with the inmaterial qualities of ideas. Writing poetry helps me to reveal profound images loaded with emotional meaning. Drawing helps to give visibility to possible connections and painting helps to solidify the mythologies that explain my present and the forms of the world I want to live in.
As a queer artist from the tropics, I believe in the vision of the indigenous cultures that keep a lively dialogue with the cosmos, connecting worlds and realities so they can understand them and live in them. Painting is my way to believe in my own truths.