Researcher on issues of cultural management, art and heritage. He has taught at universities in Venezuela, Mexico, Nicaragua, Ecuador, Colombia (Universidad de Manizales, Caldas) and Argentina.
How to explore the possibilities of volumetry in relation to the still image and digital video, in a work strongly connected to the problems of the LGBTQ+ communities? This work, with a guerrilla video aesthetic, thanks to the portability of the Kinect sensor, and its possibilities in non-ideal lighting conditions, has captured the spaces and stories of a whole series of characters who struggle to express their identity in complex sociopolitical conditions. , due to the resurgence and strengthening of the extreme right in the world.
What is the most important question? Is it possible to understand the adventure of life, death, desire... with 27 letters of the alphabet, 4 bases of the molecular code or 2 numbers of the binary system? Snow White bites into the apple and falls into a deep sleep; stepmom takes selfies and watches for likes on instagram. Do we have guidelines for thinking in a context dominated by the fascination of entertainment culture? What was he saying? Ah yes, the most important question.
The 'En lugar de la Mancha' project is a multidisciplinary artistic experiment that includes three components: 20 works in small format, the presentation of the book 'En Lugar de la Mancha', edited by the publishing program of the Universidad del Valle, in the that 17 of the most important writers from the south-western region of the country, establish a game of collective creation by choosing an image created by the author of the book, about which they wrote a poem or story. Finally, the conference on PAREIDOLIA, the fundamental axis for the realization of the work, this is the scientific of the psychological phenomenon by which random spots or vague visual stimuli are transformed according to our imagination into human faces, landscapes, animals or imperceptible scenes at first sight, but progressively visible after attention and deep observation of the image in question.
The split-screen audiovisual installation “Vacuum Cowboys” creates a multiplication of cinematographic and sound experience in which image and sound, divided and projected, generate a totally new experience. The viewer, being immersed in a miniature cinema enlarged in the space between the superimposed images, becomes an essential part of the relationship with the work.
With Contributors Janis Jefferies and Ahmed Khisk. Research Assistants: Genevieve Moisan, Tahseen Mustafa, Donna Legault, Hesam Khoshneviss, Sareh Majidi, Ryth Kesselring, Claire Nadon, Marc Beaulieu, Martin Peach, Sandrine Beaud, and Fanny Savoie. The Table Runner is embedded with over 400 hand-embroidered LEDs that form an LED matrix at the factory. Spectators can make texts flow across the screen, by moving the magic wand, boots can be used to similarly trigger changing messages. The objects are wirelessly connected via flexible textile antennae made of silver threads that are sewn onto the material. Depending on the signal strength, different messages will appear. The various texts refer to legends and mythologies about boards, boots, and wands.
This is a four channel audiovisual piece. Each channel runs independently and on its own time cycle. The images in this work consist of being digitally transferred 16mm treated celluloid. Each channel is subtitled with a portion of the Biblical text of the Four Horsemen of the Apocalypse, found in Chapter Six of the Book of Revelations, which predicted that the horsemen would ride the earth and bring destruction during the Apocalypse. Through processes of deconstruction, the work describes the perception of decay, destruction and the endless notion of reaching the end of the world that manifest in contemporary times.
The work "Insolencias Benignas" is part of the exhibition "Augusto Rivera, The Great Absentee"; proposes a revision through a free and artistic appropriation of biographical and museographic fragments of the Colombian painter Augusto Rivera (1922-1982). The interactive exhibition seeks the active participation of the visitor, providing an interactive meeting space filled with sounds, paintings, photographic and cinematographic images. The creation and reuse in the field of plastics is explored in the alternatives of the expanded documentary, to pay homage within the new sensitive explorations to a sudden artist, who used to paint on canvases, walls, tablecloths, napkins, plates, shells of egg etc