Within the broad category of painting, Anibal Vallejo dabbles from one end of the spectrum in figuration to the other in abstraction. El Vuelo (2013) updates the iconic painting of a reclining female nude, á la Manet or Titian, but with a distracting swan flying directly through the scene and blocking the women’s face. It parodies the pedestal upon which these paintings have historically been placed. A Bigger Splash (2011) references David Hockney’s iconic painting (which beat historical auction records this week). But rather than a diving man, it’s a diving car. And two years after this art historical conversation, Vallejo slides from figuration (and appropriation) into abstraction with A Bigger Splash (After Hockney) (2013). While the color palette of the embroidered hexagons reference the British artist, the rest has moved away into an abstraction that is entirely Vallejo.
Born in Bogotá, Leyla Cárdenas uses her artistic practice to explore her interest in the natural world, the built world, and very often their intersections. For example, in El tiempo lo aguanta todo (2014) and Permutations (2014), she photographs buildings before they are about to be destroyed and then attaches those photographs to the physical remnants of those destroyed buildings. In their mosaic-like display, the past comes back to life. She preserves the past while maintaining its history of destruction. In Excision (2012), she recreates a tiny slice of a former Bogotá home in the interest of making a point about the layers of history that exist within such seemingly tiny slivers of our built environment.
Some more contemporary Colombian artists: Ruby Rumié, Maria Berrio, Juan Fernando Herrán, Mateo Lopez, Pablo Gomez Uribe, Liliana Angulo Cortés, Alberto Baraya, Monika Bravo, Herlyng Ferla, Miguel Ángel Rojas, Alberto Baraya, Alejandro Sanchez,Alexandra McCormick, Nancy Friedmann-Sanchez, Ana Patricia Palacios,