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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