A program of Cámara de Comercio de Bogotá
A cultural program of:
A program of Cámara de Comercio de Bogotá
A cultural program of:
The artistic proposal presented by Plecto Art Contemporary Space for Artbo - Week 2021, includes mixed media, paintings, installations, sculpture, and works on paper and metal. It poses some questions that have general cultural and geopolitical implications. The artists as Catalina Mejia, Mario Velez, and Juan Ricardo Mejia were selected according to their creative and artistic responses to their realities, which have been influenced by concepts such as nature, architecture, social inequality, emotional states of the human being, in addition, the deconstruction of the everyday objects and symbols as well as the trans urban and domestic fragmentation of the natural and urban landscape and its inhabitants.
Plecto Espacio de Arte Contemporáneo Established in 2012, to the present has the mission of proposing creative and aesthetic interaction, through the representation, promotion of plastic artists with a solid artistic production, and those outlined to achieve an outstanding resonance through young plastic and visual proposals. Its approach is focused on creative research proposals and author curatorial exercises in the traditional exhibition space, in addition to the appropriation of alternative and transitory spaces, in order to visualize contemporary artistic practices on the local, national and international scene.
The series of Urban Archeology and Celestial Patterns presented for Artbo Week 2021 are studied the field of the geometry and abstraction in urban coordinates, the experience of emptiness in context with the volume surfaces, where the light is an essential natural agent that affects the urban and human life system. The artist masterfully translates the question about a journey through the time of the unpredictable city growth that runs through the city forced in its movements, to transform human existence at the mercy of its voices and its silences, and also with the constant revival of the artificial and organic territory.
The series of Urban Archeology and Celestial Patterns presented for Artbo Week 2021 are studied the field of the geometry and abstraction in urban coordinates, the experience of emptiness in context with the volume surfaces, where the light is an essential natural agent that affects the urban and human life system. The artist masterfully translates the question about a journey through the time of the unpredictable city growth that runs through the city forced in its movements, to transform human existence at the mercy of its voices and its silences, and also with the constant revival of the artificial and organic territory.
The series of Urban Archeology and Celestial Patterns presented for Artbo Week 2021 are studied the field of the geometry and abstraction in urban coordinates, the experience of emptiness in context with the volume surfaces, where the light is an essential natural agent that affects the urban and human life system. The artist masterfully translates the question about a journey through the time of the unpredictable city growth that runs through the city forced in its movements, to transform human existence at the mercy of its voices and its silences, and also with the constant revival of the artificial and organic territory.
Catalina Mejia comes from photography, and although her work has been materialized through the painting media, most of the photographic images have always been present. This also explains the monochrome in her way of painting, as well as the interest in light. The words first entered by influencing work through the titles of her paintings and later with the first postcards and libraries (1987) the theme of identity, the self, the author appeared. Names of artists within their lives, human beings that we could recognize. Later, Mejia stopped talking about the author's identity and every trace left in the western culture to talk about the human and what this means and stands. The artist is interested in the states of loneliness, emptiness, death, heartbreak, identity, pain, love, memories, and so on. That is the sense of her artistic work. The emotions inner being.
Catalina Mejia comes from photography, and although her work has been materialized through the painting media, most of the photographic images have always been present. This also explains the monochrome in her way of painting, as well as the interest in light. The words first entered by influencing work through the titles of her paintings and later with the first postcards and libraries (1987) the theme of identity, the self, the author appeared. Names of artists within their lives, human beings that we could recognize. Later, Mejia stopped talking about the author's identity and every trace left in the western culture to talk about the human and what this means and stands. The artist is interested in the states of loneliness, emptiness, death, heartbreak, identity, pain, love, memories, and so on. That is the sense of her artistic work. The emotions inner being.
Catalina Mejia comes from photography, and although her work has been materialized through the painting media, most of the photographic images have always been present. This also explains the monochrome in her way of painting, as well as the interest in light. The words first entered by influencing work through the titles of her paintings and later with the first postcards and libraries (1987) the theme of identity, the self, the author appeared. Names of artists within their lives, human beings that we could recognize. Later, Mejia stopped talking about the author's identity and every trace left in the western culture to talk about the human and what this means and stands. The artist is interested in the states of loneliness, emptiness, death, heartbreak, identity, pain, love, memories, and so on. That is the sense of her artistic work. The emotions inner being.
“On a splendid field that supplies the color, forms and lines glide, creating an implacable logic that produces a different rationality… …The process that has been unleashed is gleaned from the different pieces that make up the paintings; however, strictly speaking, we are only looking at one oeuvre. Thus, an exhibition of this series in its totality turns out to be indicative and telling of the exceptionality of Mario Velez’s work process. The plane is irrigated by permutations, articulations, withdrawals, and a large number of elements that create pictorial inscriptions, like a kind of graphic symbol that undergoes a controlled explosion throughout an expanse of forms. After we have examined the entire series and ruminated upon it all for some time, the field of color that has traditionally been called background is what stands out in our memory. That means that there is no surface on which lines, planes, and forms are inserted; instead, that surface is also a figure”. Fragment extracted about the artist’s work by Luis Fernando Valencia
“On a splendid field that supplies the color, forms and lines glide, creating an implacable logic that produces a different rationality… …The process that has been unleashed is gleaned from the different pieces that make up the paintings; however, strictly speaking, we are only looking at one oeuvre. Thus, an exhibition of this series in its totality turns out to be indicative and telling of the exceptionality of Mario Velez’s work process. The plane is irrigated by permutations, articulations, withdrawals, and a large number of elements that create pictorial inscriptions, like a kind of graphic symbol that undergoes a controlled explosion throughout an expanse of forms. After we have examined the entire series and ruminated upon it all for some time, the field of color that has traditionally been called background is what stands out in our memory. That means that there is no surface on which lines, planes, and forms are inserted; instead, that surface is also a figure”. Fragment extracted about the artist’s work by Luis Fernando Valencia
“On a splendid field that supplies the color, forms and lines glide, creating an implacable logic that produces a different rationality… …The process that has been unleashed is gleaned from the different pieces that make up the paintings; however, strictly speaking, we are only looking at one oeuvre. Thus, an exhibition of this series in its totality turns out to be indicative and telling of the exceptionality of Mario Velez’s work process. The plane is irrigated by permutations, articulations, withdrawals, and a large number of elements that create pictorial inscriptions, like a kind of graphic symbol that undergoes a controlled explosion throughout an expanse of forms. After we have examined the entire series and ruminated upon it all for some time, the field of color that has traditionally been called background is what stands out in our memory. That means that there is no surface on which lines, planes, and forms are inserted; instead, that surface is also a figure”. Fragment extracted about the artist’s work by Luis Fernando Valencia