With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks. Traces of art history reverberate through the sculptures; their mediums reflect traditional materials for drawing and sketching, and the simplicity of their forms gesture toward minimalism. But López dislocates these common objects from their ordinary utility by replicating their component parts in paper, graphite, and charcoal, thus drawing attention to mechanisms of representation and translation.
Though he often works with paper and traditional techniques such as lithography, Mateo López is interested in expanding the scope of drawing and frequently operates outside of traditional studio situations to conjure personal experiences. His early studies in architecture equipped him to consider his medium in terms of time and space, and in three rather than two dimensions. The portability of López’s methods, along with his personal approach to collecting information from his personal journeys, has become a trademark of his installations. Drawings and trompe l’oeil objects, ranging from apples to clothing hangers to doors, extend beyond their sources of inspiration as sensuous entities, creating their own life in a Proustian narrative.
Nicolas Paris studied architecture and worked as an elementary school teacher before he decided to become an artist...
Casa de la cabeza (2011) is a drawing of the words of the title, which translate literally into English as “house of the head.” Ortiz uses this humorous phrase to engage the idea of living in your head....
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia...
Calle’s drawings all inhabit received forms but alter them to call attention to specific qualities...
In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon...
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
Juego de Banderas (a play on words that loosely translates to both set of flags and game of flags) is a triptych of modified Colombian flags by Antonio Caro...
Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
A residency program in the blazing hot city of Honda, Colombia, inspired artist Nicolás Consuegra to consider the difficulty in understanding the needs of a distant community...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
In his project Instituto de Vision (2008), Consuegra investigates how modernism gave rise to many new technological forms of vision, most notably the camera, yet also resulted in the disappearance of outmoded forms of vision...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
In Dilemma: Three Way Fork in the Road , Wang references Peking opera in a re-interpretation of traditional text...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...