August 2021, Botschaft der Argentinische Republik, Berlin, Germany. 

Entdecke Exhibition

“Sticky Notes” is part of my series “Syncope”.

Syncope (the medical term for “fainting” or “passing out”) explores the feeling of “being disoriented” and puts it into the context of our modern everyday life: Again and again, we lose track of what is happening around us – and when we concentrate the most, we often find ourselves thinking nothing at all. This metaphorical temporary loss of consciousness has become a daily companion for many people in our fast-paced society. Are we still able to focus in a world so full of stimuli? And how do we deal with it in the long run?

I drew my inspiration for the series from the people all around us – interpreting their behaviour and feelings in my own way. What I often see is how these people – for short moments of time – appear lost within their own thoughts. This is how the title “Syncope” finally came to life. 

“Sticky Notes” is one of the first images of the series – trying to show exactly this feeling of being overwhelmed by thoughts, responsibilities and notifications in a very literal way.

Sticky Notes

painted in 2019
oil on canvas
24x36 inches

Kellie, Bed-Stuy, 2019

60 x 36 inches, 2021
Emulsions, Acrylics, Oil Sticks and Oil Pastels on Canvas


Fine and Dandy

16x16x16inches
mix media interactive installation
2021

Box Inside my head volume I.

mixed media installation

180 x 180 x 150 cm (steel, latex, yoga mat, c-print on fabric, plastic, resin, pu foam, wig, acrylic paint)

​

Installation View DEW21 Kunstpreis, Dortmunder U, Germany, 2019



I feel much better since I stopped eating chocolate, 2019

« Resilience » Installation. Old books about the colonization of America, golden thread, needles, earth and mud, wood, light, sound. Dimensions: 900X600X300 cm. 2019.
According to Karl Marx, people make their history from the inheritance their ancestors left. Inheritance which they carry like a nightmare. In 1492 Latin America was colonized. During that colonization, the native American people and the enslaved Africans lived a violent castration of their identity. They learned that their language, their religion, and their culture were wrong, while they had to learn a new one: that of civilized men. From that moment the native American people and enslaved Africans learned that they were inferior and that feeling of inferiority has been inherited from generation to generation. In the installation «Résilience» the artist Camila Rodríguez Triana creates a healing ritual for that inheritance, in which she tries to recover that lost ancestral wisdom, that for her lives in every Latin American man or woman in an unconscious way. First, she intervenes several pages of books on the colonization of America written from the point of view of the colonists. She paints them with earth and mud and then embroiders the names of her ancestors with gold threads. These names are decomposing in their phonemes to go from a human language to a language of divine symbols. Likewise, with the musician Holman Álvarez, she composes a song for each name. Sixteen songs in total. Every time a song is played, one of the embroidered names radiates light. In the middle of the installation hangs a Tunjo, a woven figure that the artist made as an offering to the Gods to ask for this healing.

Resiliencia / Résilience (Visual Arts).

MAKEAWISHHH 1 2019  150 x 170 cm acryl on canvas

MAKEAWISHHH 1 

Developed from broken parts of the Hong Kong map, this series of paintings recorded a first-person narrative about a prevailing myth of my hometown.  

In real life, maps are used to guide us to our desired destinations. Applying vigorous colours and spontaneous brushstrokes over fragments of the local street map, I, however, aimed at creating chaotic scenes with lost directions in order to depict the puzzling promises of the city’s future, which seems to continue to be a myth for many.

Reference: Street map of Central, the core financial and government area; and Shumshuipo, an old district with low income population.

The Map of A Myth I

Painters skin

Pleats & Folds (Plis & Replis in French) is a personal project based on folded paper objects. These objects are diverted and take shapes reminiscent of old clothes, as well as symbolic objects and places.

The emphasis is on the light and the contrasts created by the rhythmic folds of the objects in order to emphasize the simmetry, regularity and calm reigning in the portraits

Pleats and Folds

In January of 2020 I partnered with the independently run project space, Paradice Palase in Brooklyn, to curate a participatory exhibition in collaboration with food artist Salimatu Amabebe. In this project I created the physical environment (tables topped with a multitude of textured objects and soft sculptures visitors were welcome to handle and even sit on) and Salimatu made all the food present in the exhibition.
The concept for this work was rooted in the tradition of using the gallery as social space and site for participatory performance. Our goal was to create an environment that played with the idea of how we interact with food and fine art, respectively. By blending art objects and food, both through arranging them together and in them mimicking each other’s appearance, we wanted to stimulate feelings of curiosity, discovery and surprise. Visitors were encouraged to reach into piles and tear open containers to obtain consumables and, by so doing, to come in direct physical contact with the artworks. Our hope was that through this kind of engagement the lines between sensual pleasures would be blurred and therefore result in feelings of comfort, softness and renegotiations with ideas of repugnance.
Carefully crafted vegan food was arranged on and presented amongst well-polished and meticulously crafted fine art objects. As the exhibition elapsed and visitors interacted with the presentation, the pristine surfaces started to stain and become messy. We invited that slow destruction. In fact, it was only after this process of visitor interaction that the pieces were "finished". The name of the project was a reference to this end goal. In fact, the reason it was called mess twice ("Mess/MESS") is that we anticipated the disarray that the performance would generate but we also wanted to reference the communal atmosphere that would be created as a result- much like when meals are eaten in mess halls.
Visitor at opening approaching display

Mess/MESS

The Contemporary human experience, with its balance of awareness and repetitive mental patterns, provides a both a context and a reason for this work to exist. The artwork evokes a atmosphere for inner talk and invites to shift the perception for the present moment. Notifications Piece presents contemporary graphic elements that provoke a contrast between the digital and the physical world, as a way of awakening the memory of the real, of the higher self. 

Notifications

Photograph made with my self-made software that cuts image files into slices and re-organizes them according to e.g. their brightness values.

Introspectacle

2021, part of painting instalation "Notebook", oil painting on wall, oil painting on canvas, 120 cm x 160 cm 

Notebook/War

Lolipop

Reflected Topography is a snapshot of the Anthropocene in these terms, echoing the form of the Earth’s core and evoking traditional geological modes of analysis. This sense of accumulation is reminiscent of Tells and Mounds in archaeological study, resulting in a visual expression of time. This, however, is a contemporary stratum, whose unique elements, layered and laboured atop one another, range from precious to pollutant, including concrete, plaster, lead, steel, aluminium, rubber, wax, wood, plastics, glass, asphalt, cardboard, foam rubber and polystyrene.

Relected Topography

me is not me all the time . me is under surfaces. these surfaces made me to be complete.
everyday every time, they change and i change too. so I am no longer fixed.

Between

Electronic Winds (2015-2018)
Full HD video, computer animation
Music by Sergey Ryabchenko ©

The wind is invisible, but we can feel it, hear it and observe its actions. In addition to physical laws, it has its own mythological poetics, it is a hero of fairy tales and a god of myths. I found it interesting to transform ancient Greek mythology with its unique atmosphere into a virtual mythology and create portraits of Electronic Winds that permeate the space of new times.

Stepan Ryabchenko

Electronic Winds

The original string art technique that created this stunning piece involves wrapping several kilometers of a continuous mono-thread around an evenly spaced circle of 200 aluminum pins. Imagine, how the same string that produces only random noise around the image suddenly condense and accurately repeats the complex shape? As if by the creator's plan, the string meticulously draws the figure in the air, and from this unifying beginning, the entire piece is interconnected... 

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