Group Exhibition

July 20 - August 24, 2023

Jorge Eduardo Eielson | Arturo Herrera | Sandra Monterroso | Miguel Ángel Rojas | Melanie Smith | Ana María Tavares | Marina Weffort

CLICK HERE FOR THE EXHIBITION TEXT BY GABRIELA RANGEL 

Excerpts in OVR from text written by Gabriela Rangel.

Eielson’s archaic knot introduced an ancient artifact from the Andean region to the lexicon of modernism, condensing his queer persona on a coded sign that he developed in different media.

Color is a critical signifier connecting Maya Q'eqchi's culture to Sandra Monterroso's personal history. The artist is known for using indigo and cochineal dyes, with which she colors her textiles and yarns.  

Miguel Angel Rojas’ blankets represent the people who live in the streets of Bogotá, a city with cold and humid weather as well as other urban centers in Colombia. More importantly, the blankets represent the body of violence in absentia. 

Marina Weffort’s elegant white fabrics with geometric patterns inscribe her work into the vocabulary of modern art.

Arturo Herrera’s felt piece completes its meaning through the subtraction of extensive parts of the fabric that were cut to apply a repetition of a pattern: a hunched witch with a baton.

Melanie Smith, an artist immersed in the imagery of global diversity and its circulating taxonomies, commissioned crochet embroideries during the Covid 19 pandemic lockdown, which compositions are based on the pi number. Smith’s series consisted of framed circular embroideries handwoven in cotton in collaboration with the feminist Mexican collective Lana Desastre (Yarn Bombing).  

Ana Maria Tavares’ soft sculptures also made in collaboration with craft women of the Brazilian Northeast, deploy embroideries treated as precious indigenous artifacts, which titles refer to rivers in the region of Ceará devasted by different agents of destruction.