BIOGRAPHY
My connection to Colombia and Mexico has led me to question rationality, Eurocentrism and its crisis, the possibility of building a single, metaphysical model of thought, about the possibility of translation without losing information and adding noise, about the end of “modernity”, about “postmodernism”; these doubts motivated me to immerse myself in said environment without aiming to establish a universal truth; rather with playfulness, marveling at writers’ imagination and their ability to develop plots, as if I were reading fantastic fiction on par with Borges or Lovecraft, who multiplied the volumes of the Library of Babel.
CV
National University of Colombia / Visual Arts. Master in Visual Arts / UNAM. Doctorate in Art History C.I.D.H.E.M. (Honorable mention) / Fire Arts Center of the Museum of Contemporary Art of the Gilberto Alzate Avendaño Foundation (1988), with his work “Ojalá cambies, seas siempre diferente, Penélope…” (I hope you change, be always different, Penelope…).
“Pintura” (Painting), Centro Colombo-Americano (Bogotá, 1992); “En el Jardín” (In the Garden), Leon Trotsky House Museum (CDMX 1997); “Las ciudades del cuerpo” (Cities of the Body), Casa de Cultura Profr. Jesus Romero Flores (CDMX 2000); “Cinismos Cardinales” (Cardinal Cynicisms), Jardín Borda, IMC, 2007; “Las Ciudades Interminables” (The Endless Cities), University Cultural Center – UAEM, 2008; “Expósitos” (Foundlings) Casona Spencer, (Cuernavaca 2009), “Paisaje Interior” (Inner Landscape), MUCIC (Cuernavaca, 2015).
Collections at the Centro Colombo-Americano de Bogotá, at the Bogotá Electric Energy Company, at the Polyforum Siqueiros and in private collections.
STATEMENT
A painting assumes a different modus operandi from those organized under the parameters of harmonic composition; structured by its own time and space, it unfolds in a dialogue with pictorial matter and its forms.
