•  Installation Shots From: Pangaea II: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea II: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea II: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea II: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea II: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

Diego Mendoza Imbachi

SELECTED WORKS BY Diego Mendoza Imbachi

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Diego Mendoza Imbachi
The Poetics of Reflection

2014

Graphite and binder on canvas

300 x 600 cm
For Diego Mendoza Imbachi the process of gardening is intrinsically linked to art making, a platform for his ongoing exploration into the natural landscape and topographies of rural Colombia. Growing up in the department of Cauca in the village of Venta Cajibio, an active area for farming and gardening, Imbachi noticed the impact of industrialisation on his own soil. Drawing on his previous vocations of farming and gardening in a region dependent on its livestock and agriculture, the artist began to observe rapid changes in the landscape. In an artistic response, he began actively drawing his environment with pencil and graphite, cataloguing transformations and mutations in real time. The outcome has been a naturalistic reimagining of biological processes through detailed accounts of fantastical plant forms and futuristic realties.
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Diego Mendoza Imbachi
Graphis – Loggia

2014

Graphite and binder on canvas

300 x 600 cm
What Imbachi had identified was the problem of interventions on the land, mainly by multi-national corporations who continue to mine Colombia’s natural resources. Having grown up amongst the large plantations of pine and eucalyptus, Imbachi witnessed the expanding capitalist monopoly that prompted the erection of foreign communication towers on his native soil. Imbachi’s largely biographical output is located in this very tension, as the artist’s attempts to sketch out a world in which technology and nature are as all embracing as they are consuming. A hybridisation of natural forms and antennae (The Poetics of reflection, 2014), are a visualisation of the germinating exchanges between the two ideological worlds.
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Diego Mendoza Imbachi
Graphis – Natura

2014

Graphite and binder on canvas

300 x 1000 cm
The artist’s interest in the native species and their rootedness in exchanges with Australia and colonial Spain, offer a rich subtext for the curious hybrid tree/antennae that dominate Imbachi’s large scale drawings. In this scientific imaginary landscape, structures feed themselves as they expand from edge to edge their surfaces becoming three-dimensional and strangely immersive (Graphis – Natura, 2012). They recall taxonomic studies, as natural elements like tree leaves and plants become the documents of unchartered scientific progress. The contemplation of the beauty in natural forms becomes a site for a different interpretation of his local landscape. A heterogeneous set of proposals, Imbachi’s drawings of inner landscapes expose the deceptive simplicity of rural environments by considering in/organic processes through which plant forms come into being. Imbachi is interested in an ecosystem of processes informed by the relationships between organisms. Like a natural rug of dry pine leaves intercepts the land art movement; Imbachi’s practice embraces the sculptural forms of the undisturbed landscape, extracting from nature to question the division between the essence of the organic and the experience of the artificial.

© Osei Bonsu, 2014

ARTICLES

Diego Mendoza; Lenguajes en Papel
Febrero 6 a Marzo 8 de 2014, Galeria El Museo

La obra de Mendoza explora las temáticas del paisaje y el jardín como fuentes de exploración expresiva. En este caso Reflexus hace parte de un proyecto de dibujo que se titula La poética de los reflejos. Esta investigación contempla el análisis del término reflejo que proviene del latín reflexus y tiene varios usos. Un reflejo puede ser una respuesta involuntaria frente a un estímulo; la luz reflejada o la imagen de alguien o de algo que se refleja en una superficie. En esta ocasión, la experiencia con el paisaje caucano surge en la imagen del árbol, imagen que se torna ambigua, y que puede ser cualquier especie de árbol nativo o puede ser un árbol de eucalipto extranjero, donde la imaginación juega un papel determinante.


Read the entire article here
Source: galeriaelmuseo.com

SEXTO SALÓN DE ARTE BIDIMENSIONAL
31 de Octubre con 45 Obras, Exclama

El 6º Salón de Arte Bidimensional se inauguró el pasado 31 de octubre con 45 obras. Los ganadores de esta edición del Salón fueron Javier Mauricio Vanegas Torres con Ampo, Gonzalo Fuenmayor Betancourt con Génesis # 1, Nadir Figueroa Mena con Concreto traslúcido/Nocturnos y Óscar Andrés Martínez Ruiz con 154 páginas de la Constitución impresas sobre una hoja de papel.

Saúl Sánchez Barbosa con Corpus Delicti, Luis Avendaño Rodríguez con Racamilma, William Aparicio Camacho con Pausa Inter Corográfica y Codificando microfilms y Diego Mendoza Imbachi con Graphis – Loggia, recibieron menciones de honor. Las obras premiadas pasarán a integrar y a enriquecer el acervo de la Colección de arte de la Fundación Gilberto Alzate Avendaño, que cuenta por esta vía con obras de los más relevantes artistas colombianos de la última década como Jaime Franco, Luis Fernando Ramírez, Clemencia Echeverri, Mario Opazo, Mariana Varela, Marco Mojica, Miler Lagos, y Diego Piñeros, entre otros.

La 6º versión del salón se caracteriza por un alto componente de medios fotográficos, piezas donde los artistas reflexionan más allá de su carácter de contenedor y de registro de memoria. Asimismo, es visible una posición crítica en la que cuestionan la primacía de los intereses económicos sobre la protección de los recursos naturales del país; o donde reflejan problemas sociales y políticos latentes en expresiones plásticas en que la imagen se diluye o distorsiona, planteando interrogantes frente a los modos como la sociedad los asume.

Read the entire article here
Source: revistaexclama.com