Born in 1981. Santiago. Chile.
2001-2007 Architect and Urbanism. Pontificia Universidad Católica de Valparaíso. Chile.
2010-2014 Graduated Fine Arts. International program in The Arts Student League of New York. New York.
135 West Building Space. Exhibition ASL Outreach Program. New York, NY
Continuum. Gallery Space at Wagner NYU. New York. NY
Impossible Maps. Galería Trece. Santiago.Chile
Panorámica. Galería Modigliani. Mendoza. Argentina.
Producción Urbana. Sala Juan Egenau. Santiago . Chile.
Contradistinction. Reverol & Co. Contemporary Art Gallery. New Rochelle. NY
Cosmobilities. Rowen University Gallery. New Jersey. USA
Re-Imagining Past Possessions. TransFORM Gallery. Westchester. NY.
Dyptich Tryptich and Multiples. cWOW Gallery. Newark. New Jersey. USA
3rd Bronx Latin American Art Biennial. illusory Correlation. Bronx. New York
Dialogo 365: Carpe Diem Exhibición at City Hall. Philadelphia. USA
Exquisite Corpse. The Historic Essesx Market. New York. NY
Paralelos Imposibles. Abrazo Interno Gallery. New York. NY
Most Wanted. Amy Alonso Gallery . Miami .USA
Color Society. Boulevart Ciudad Empresarial Galería. Santiago.Chile.
Réplica. Santiago Nattino Space. Santiago.Chile.
La Leidelmono. Consejo Nacional de la Cultura. Valparaíso.Chile.
Exposición El Bosque . Palacio Cousiño. Santiago.Chile.
ART FAIR PARTICIPATION
Clio Art Fair. Armory week. New York.
Context Art Miami Fair. Galería Praxis internacional. Miami
PINTA Art Fair New York. Galería Praxis Internacional. NY
Governors Island Select Art Fair 2012. New York. NY
LAP Expo Shanghai 2012. PM Gallery. Shanghai.China.
C.H.A.C.O Art Fair. Galería Abeliux & Caorsi. Santiago.Chile
Lloyd Sherwood Grant. The Arts Student League of New York.NY
2nd 2013 Showcase Winner Artslant.
6th 2012 Showcase Juried Winner Artslant.
The Red Dot Award, Phyllis Harriman Mason Gallery. New York. NY
The Henry Matisse Estate Award Scholarship. New York. NY
COLLECTIONS / AUCTIONS
Adquisition Art Piece to the Permanent Collection of The Arts Student League. NY
Whitebox Gallery Spring Benefit Auction 2012. New York. NY
Charity Auction. The Exquisite Corpse. The Intercourse. Brooklyn.NY
The City narratives and its system of inner transformation such as its human component are aesthetically and discursively represented in my work.
In the works a sense of non-territoriality seems to clash with the Maps, places and patterns which preceded the rapid expansion Practices and its advanced and modern traces which begun to take place in the beginning of the 20th Century. Such traces replaced the Nineteenth-Century Model of European cities, as an example, to make reference of an inescapable model such as latinamerican cities structures, and more so for initiating relations between local and global. Such tradition, the
Architecture of the 19th Century, has been suspended in History by Modernism not only in architecture
But in the visual arts as well, which is where the work indicates the movement of urban and aesthetic structures through the paintings.
In today’s world the edification scene is a spectrum that varies rapidly in time, which calls for adaptation and mutation. Because of a series of belligerent, political and economical reasons, cities have experimented structural changes, in a contract with powerful conventionalities such as agreeing and belonging to the globalized world. notice the rhythm, the speeding urban process, create a visual proposal which distances from evidence and emerges from traces, lines, colors and stains, a personal vision about time and space variations reflected in today’s urban structures.
From an aesthetic point of view, the work can be categorized into two different spaces: the panoramic Urban Growth scene portraying different directions and points of view, and in another plane, more engineered landscapes which depict a direct relationship between men-kind in its habitat, the City.
Starting with the first Space, Panoramic Landscapes; an aerial point of view which depicts the shape of an architectural floor-plan view, as a two-dimensional projection space. Never the less at the base of each floor-plan some new dimensions occur and they mesh into the interior of the fabric, generating tensions and hybrids which reference the constant map transformations, blueprints, which where original at first and now opened-up and distanced themselves into a more cubist style which suggests a stare of tension applied to the portrayed object. There is a narrative which presents memory crisis, its vulnerability, because in the spectacle of “the contemporary”, the happening cities have restructured their history through political access to the capitalist market model.
I express in my paintings, the relationships between stable and mutable, between permanent and ephemeral, while building a reflection space about the limits of domestic elements within a moving scene into an undetermined and generalized space, open to endless directions which exceed the architectural plan-view. Through such technique, perspective amplification, I state the territory crisis as a unity within time, becoming the architect of eternal transformation.
From another angle, in most of my work is present there, the invalidation of the local, favoring the global territory, as if the dividing or geographical lines would be displaced by the globalized model, understanding urbanism at a parallel level to the interior in a scene guided by the postmodern access. Finally, the large canvas format act as a vehicle to the origins of landscape paintings, due to its long horizontal format, alludes to a media tautology as another strategy to board the intersections of the city in the pictorial field. Such pieces reference the contemporary and Latin-American art, the works of Kuitca and the German artist, Michael Wesely and his displays about urban mutability through the art of photography.
On a second ground, Least Panoramic Paintings, which in photographic terms could be described as details or close-ups, the stain appears the trace which remits “the organic”, men-kind, a palpitating chaos located at the center of the screen, captive within the interior of the picture. This is when the city concept managed and guides from the human to the interior of the horizontal and the vertical that happen in the canvases but it is possible, never the less, through contemporary representations about the Urban. This is a critical revision confronting the urban capability and life quality, insisting in threatening trouble of metropolitan growth. In this sense, I propose a visual perspective where the regular and continuous traces are modified from the original due to proactive displacements and interventions of urban transformation and the repercussions of such.
The different expansion and makeover possibilities within the city. It all generates thoughts of movement, chaos and tension translating into constant environment transformation, everything contained in humanity, from its frame to its bedroom.
Referring to both proposed spaces, the module appears as the symbol of a fragment, of fusion, as a tool that intertwines a modifiable total, the module is, in itself, a mechanism allowing for infinite results. In this sense, the module’s ontology does not only pertain to the visual arts but to its daily use as well, its sustains in the poetry of possibilities, to the undetermined, the destruction and re-building of a never ending total.
The work is about a new proposal for the urban plot depicted mainly through the art of painting, but a photography containing painting, graphics and installation, indicating from this media-merge an analogy to urban hybrid systems and the intervention of several visual representation media.