[\/et_pb_text][et_pb_image src=”https:\/\/www.lorianaespinel.com\/wp-content\/uploads\/2026\/01\/C-Preamble-cut1-1.png” title_text=”C Preamble cut1″ align=”center” _builder_version=”4.27.6″ _module_preset=”default” width=”100%” max_width=”2000%” global_colors_info=”{}”][\/et_pb_image][et_pb_blurb title=”1- THE PROJECT” content_max_width=”1100px” _builder_version=”4.27.6″ _module_preset=”default” header_level=”h5″ header_text_color=”#1e1e1e” background_color=”#e2dedc” module_alignment=”center” custom_margin=”80px|0px|0px|0px|false|false” custom_padding=”32px|0px|0px|0px|false|false” header_text_shadow_style=”preset4″ border_color_all=”#ededed” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.27.6″ _module_preset=”default” background_color=”#e2dedc” global_colors_info=”{}”]<\/p>\n
El \u00c1rbol de los Anhelos \u2013 Codex of Human Rights<\/em> is a long-term visual project originally conceived as a series of thirty large-scale works, each dedicated to one article of the Universal Declaration of Human Rights<\/span><\/span>. It has evolved into an open system without a fixed sequence, where additional works emerge in response to context, opportunities, and the state of the world.<\/p>\n The work continues to develop through institutional support, grants, residencies, and public presentations.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” custom_padding=”||0px||false|false” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” width=”100%” max_width=”1200px” custom_padding=”0px||30px||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_toggle title=”Artist Statement” open=”on” closed_toggle_background_color=”#f7fbff” icon_color=”#B65C4C” toggle_icon=”||divi||400″ use_icon_font_size=”on” icon_font_size=”30px” open_icon_color=”#B65C4C” open_toggle_icon=”O||divi||400″ open_use_icon_font_size=”on” open_icon_font_size=”30px” _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” custom_margin=”-120px||||false|false” custom_padding=”10px||||false|false” global_colors_info=”{}”]<\/p>\n A central question in El \u00c1rbol de los Anhelos<\/em> is what human rights mean, how they shape our understanding of a better world for all, and what position I occupy as an artist in relation to them.<\/p>\n El \u00c1rbol de los Anhelos<\/em> engages the Universal Declaration of Human Rights as a non-binding text that has become significant through repetition, circulation, and belief, grounded in a fragile consensus imagining a better world for all. The Declaration functions as a framework for approaching these questions, not as an answer but as a collective attempt that remains open.<\/p>\n My practice develops through calligraffiti as a structural language that brings together calligraphy, typography, and graffiti as distinct but interdependent systems. Calligraphy introduces gesture and time. Typography organizes the work formally and conceptually. Graffiti brings scale and surface, giving the mark a physical presence in space that shapes the conditions of encounter.<\/p>\n Calligraphy \u2014 gesture and time<\/strong><\/p>\n Calligraphy enters the paintings through scripts and forms of writing drawn from my research into codices and their calligraphic traditions. These forms are made through gesture, repetition, pressure, and changes of scale, and accumulate through the process of painting. Some remain recognizable as writing, while others become marks, patterns, or traces as they are repeated and layered across the surface.<\/p>\n Typography \u2014 formal and conceptual organization<\/strong><\/p>\n Typography organizes the work formally and conceptually. The Universal Declaration of Human Rights provides the conceptual basis of the Codex, with each painting developing in relation to one of its articles. Illuminated manuscripts provide its formal basis, bringing together scripts, images, geometry, ornament, and systems for organizing text and image within a surface. Each painting draws from these traditions to develop its own visual structure while remaining part of the larger Codex.<\/p>\n Graffiti \u2014 scale, surface, and encounter<\/strong><\/p>\n Graffiti operates through scale, surface, and the conditions of encounter. The large scale of the paintings and their presence in architectural space establish a physical relationship with the viewer\u2019s body. Through artist talks and live painting, that encounter becomes a space for conversation about human rights and human suffering. I am interested in the contradictions we carry within these conversations: between what we believe should be done, what we feel responsible for, and what we are individually willing or able to do. The work holds these positions together without judgment or the expectation of resolution, allowing contradiction to remain present.<\/p>\n Through El \u00c1rbol de los Anhelos<\/em>, I approach human rights as questions that remain alive rather than ideas already resolved. The work creates a space where I can examine what a better world for all might mean, while allowing the contradictions, responsibilities, and uncertainties that come with that possibility to remain present.<\/p>\n [\/et_pb_toggle][et_pb_toggle title=”Project Context” open_toggle_background_color=”#f7f6f3″ closed_toggle_background_color=”#f7fbff” icon_color=”#B65C4C” toggle_icon=”||divi||400″ use_icon_font_size=”on” icon_font_size=”30px” open_icon_color=”#B65C4C” open_toggle_icon=”O||divi||400″ open_use_icon_font_size=”on” open_icon_font_size=”30px” _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” global_colors_info=”{}”]<\/p>\n In 1991, while I was a student at the University of the Andes, my country, Colombia, was exhausted by violence, bombings, and fear. Students across the nation organized the Seventh Ballot, a civil movement demanding change. I campaigned for it, marched for it, and witnessed an entire generation come together to imagine a different future. Somehow, we found the strength to write a new constitution, one that, for the first time, gave voice to Indigenous, Afro-Colombian, and marginalized communities. It was a powerful moment. For an instant, as a country, we felt hope.<\/p>\n Shortly thereafter, the poet Jairo An\u00edbal Ni\u00f1o wrote El \u00c1rbol de los Anhelos, a children\u2019s book created to explain the new Constitution. His words captured that moment with precision: the dream of building a society for all.<\/p>\n Years later, I felt that same sense of hope upon discovering the Universal Declaration of Human Rights. Created after the Second World War, it was drafted by representatives of many nations, cultures, and religions. The Universal Declaration of Human Rights was the first global document explicitly written with the intention<\/strong> of addressing all human beings: not a nation, not an empire, not a religion, not a class.<\/p>\n As a non-binding document, it operates through repetition, circulation, and belief, formed through a fragile consensus imagining a better world for all. I understand that it is not a perfect solution, but it remains a powerful symbol.<\/p>\n For more than twenty years, I have kept, in plain sight in my studio, a small notebook containing the Declaration, a silent reminder of that dream. Many times I tried to express it through art, but I did not yet have the right language.<\/p>\n These paintings come from that same place: the one that longs for a better life for all, the one we recognize when we hear the words, \u201cI have a dream.\u201d<\/p>\n Through calligraffiti, I found the language that allows me to work with this text.<\/p>\n The paintings do not follow a fixed sequence. They respond to the moment I am in, to what the future brings, to each opportunity, and to emerging questions. They evolve over time, opening space for conversations we still need to have.<\/p>\n <\/p>\n [\/et_pb_toggle][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” custom_padding=”40px||40px||false|false” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” width=”100%” max_width=”1200px” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”02 – PROJECT STATUS AND LEGEND” content_max_width=”1100px” _builder_version=”4.27.6″ _module_preset=”default” background_color=”#e2dedc” module_alignment=”center” custom_margin=”119px||20px|0px|false|false” custom_padding=”32px||10px||false|false” header_text_shadow_style=”preset4″ text_shadow_style=”preset4″ global_colors_info=”{}”]<\/p>\n Quick guide to the symbols used below.<\/p>\n [\/et_pb_blurb][et_pb_text _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” global_colors_info=”{}”]<\/p>\n \ud83d\udfe2 Completed<\/strong> CO<\/strong> Exponsored by theMinistry of Cultures, Arts, and Knowledge of Colombia<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” custom_padding=”40px||40px||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][et_pb_row use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.27.6″ _module_preset=”default” width=”100%” max_width=”1200px” hover_enabled=”0″ global_colors_info=”{}” background_color=”#ffffff” sticky_enabled=”0″][et_pb_column type=”4_4″ _builder_version=”4.27.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”03 – MAIN ILLUMINATIONS” content_max_width=”1100px” _builder_version=”4.27.6″ _module_preset=”afa39031-fd78-4e1f-8ca4-b156cbc1c6d5″ header_text_color=”#2f2f2f” header_letter_spacing=”0.05px” header_line_height=”1.4em” body_font=”–et_global_body_font||||||||” body_text_color=”#444444″ body_font_size=”18px” background_color=”#e2dedc” module_alignment=”center” custom_margin=”80px|||0px|false|false” custom_padding=”32px||10px||false|false” header_text_shadow_style=”preset4″ border_color_all=”#e2e2e2″ global_colors_info=”{}”]<\/p>\n + Click to open each illumination +<\/strong><\/em><\/p>\n Each illumination gives visual form to one of the thirty articles of the Universal Declaration of Human Rights.<\/p>\n <\/p>\n [\/et_pb_blurb][et_pb_toggle title=”Preamble \ud83d\udfe2 * CO ” open_toggle_text_color=”#222222″ open_toggle_background_color=”#f7f6f3″ closed_toggle_background_color=”#f7fbff” icon_color=”#B65C4C” toggle_icon=”||divi||400″ use_icon_font_size=”on” icon_font_size=”30px” open_icon_color=”#cc6955″ open_toggle_icon=”O||divi||400″ open_use_icon_font_size=”on” open_icon_font_size=”30px” open_toggle_background_color_last_edited=”off|desktop” _builder_version=”4.27.6″ _module_preset=”9982601a-f515-47cd-bedd-8fde9e975930″ title_font=”|700|||||||” title_font_size=”17px” title_line_height=”1.4em” background_color=”#f7f6f3″ global_colors_info=”{}”]<\/p>\n Acrylic on canvas.\u00a0 9.84 ft \u00d7 16.40 ft.\u00a0 \u00a0\/\u00a0 <\/strong>3 m \u00d7 5 m<\/strong><\/p>\n This work interprets the Preamble of the Universal Declaration of Human Rights<\/em> as a shared point of departure for humanity.<\/p>\n The golden disc refers to the Golden Record<\/strong>, conceived in 1977 by Carl Sagan and his team and sent into space aboard the Voyager probes. This record contains sounds, music, images, and scientific information selected to represent human life on Earth. In this work, the disc retains its original condition: it continues traveling through the universe as a bearer of a human message.<\/p>\n Inside, it appears graphic symbols and sonic references that allude to a curated synthesis of humanity, in keeping with the spirit of the Preamble, an ethical aspiration toward dignity, coexistence, and the absence of war, disease, and cruelty.<\/p>\n The figure that envelops the disc is the Hydra<\/strong>, taken from the Book of Fixed Stars<\/em>, a medieval Arabic astronomical manuscript. This reference acknowledges the fundamental role of Arabic knowledge in the historical construction of astronomy. The serpent is not presented as a threatening figure, but rather as a way to represent the universe that surrounds and contains the human message, as well as the unknown we still face as a civilization.<\/p>\n The Preamble, like this disc in transit, does not describe a finished reality, but an ethical horizon under permanent construction.<\/p>\n Read<\/a>:<\/strong> the Universal Declaration of Human Rights<\/p>\n Watch video:<\/strong><\/a> explanation of Carl Sagan\u2019s Golden Record and the Voyager missions<\/p>\n \u00a0Watch video:<\/strong><\/a> complete audio (5 hours)<\/p>\n \u00a0Watch video:<\/strong><\/a> the 116 photographs included on the record<\/p>\n Consultar manuscrito<\/a>: <\/strong> Consult manuscript:<\/strong> Book of Fixed Stars<\/em> (digital \/ e-book version)<\/p>\n [\/et_pb_toggle][et_pb_toggle title=”Article 1 \ud83d\udfe2 *CO ” open_toggle_background_color=”#f7f6f3″ closed_toggle_background_color=”#f7fbff” icon_color=”#B65C4C” use_icon_font_size=”on” icon_font_size=”30px” open_icon_color=”#cc6955″ open_toggle_icon=”O||divi||400″ open_use_icon_font_size=”on” open_icon_font_size=”30px” _builder_version=”4.27.6″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Acrylic on Canvas and Paper pasted on canvas.\u00a0 \u00a03 Mts X\u00a0 2 Mts \/\u00a0 9.8 ft \u00d7 6.6 ft<\/p>\n \u201cAll human beings are born free and equal in dignity and rights.\u201d<\/p>\n This work is conceptually grounded in Carl Sagan\u2019s plaque on Pioneer 10<\/strong> and in the real difficulty of creating an image that can represent<\/span>\u00a0all of humanity without excluding races, bodies, or cultures. During its development, certain images of the human body were questioned within NASA<\/strong>, revealing the cultural and political limits involved in attempting to speak on behalf of the entire human species.<\/p>\n Article 1 of the Universal Declaration of Human Rights<\/strong> affirms the inherent equality and dignity of all people, yet that affirmation has proven complex to translate into a single, universal image.<\/p>\n Faced with this impossibility, the work adopts the\u00a0quilt’s structure<\/span>\u00a0as a visual and conceptual strategy. The quilt allows diverse fragments to be brought together without erasing their differences, proposing an idea of equality based on the coexistence of multiple identities within a single fabric.<\/p>\n In the lower left portion of the work appears the Sumerian symbol for the number one<\/strong>, one of the earliest known graphic forms used to represent beginning and unity. This sign explicitly points to Article 1<\/strong>, linking the origins of writing and human thought to the fundamental principle of equality that inaugurates the Declaration.<\/p>\n Watch:<\/strong><\/a> the video that tells the history of the plaque.<\/p>\n [\/et_pb_toggle][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” custom_padding=”40px||40px||false|false” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” width=”100%” max_width=”1200px” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”04 – EMERGING ILLUMINATIONS” content_max_width=”1100px” _builder_version=”4.27.6″ _module_preset=”afa39031-fd78-4e1f-8ca4-b156cbc1c6d5″ background_color=”#e2dedc” module_alignment=”center” custom_margin=”80px|||0px|false|false” custom_padding=”32px||10px||false|false” header_text_shadow_style=”preset4″ global_colors_info=”{}”]<\/p>\n + Click to open each illumination +<\/strong><\/em><\/p>\n Emerging Illuminations are works within the codex that do not correspond to a single article of the Universal Declaration of Human Rights, but instead address foundational or interstitial themes.<\/strong><\/p>\n As the Codex evolved, certain themes demanded their own space: works that did not belong to a single article but to the human stories that exist between them. [\/et_pb_blurb][et_pb_toggle title=”Genocide \u2013 The Silence of Names \ud83d\udfe2 * CO ” open_toggle_background_color=”#f7f6f3″ closed_toggle_background_color=”#f7fbff” icon_color=”#B65C4C” use_icon_font_size=”on” icon_font_size=”30px” open_icon_color=”#cc6955″ open_toggle_icon=”O||divi||400″ open_use_icon_font_size=”on” open_icon_font_size=”30px” _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” global_colors_info=”{}”]<\/p>\n Acrylic on canvas and fabric pasted on canvas\u00a0 \u00a0 3 m \u00d7 5 m \u2248 9.8 ft \u00d7 16.4 ft<\/p>\n Genocide does not appear as a specific article within the Universal Declaration of Human Rights<\/strong>. The Declaration was conceived as a preventive framework: its articles seek to establish the conditions necessary to ensure that crimes such as genocide do not occur again. The prohibition and legal codification of genocide were later developed in specific instruments of international law.<\/p>\n However, during the process of creating this series, genocide emerged as an essential concept, not as a norm, but as a latent threat: that which the Declaration attempts to prevent and which, nevertheless, continues to occur. This work is the most personal of the entire series.<\/p>\n The red geometry surrounding the dragon represents my childhood home, specifically the swimming pool where we bathed as children. It was not a tiled pool but a dark, deep concrete structure, where the bottom could not be clearly seen. In that depth, my imagination populated monsters that could grab my feet and drag me downward. From that fear, the dragon is born.<\/p>\n The dragon resumes its function in medieval cartography, where such figures marked zones of danger, unknown territories, and real or imagined threats. Unlike other symbolic representations in this series, this dragon is destructive. In the image, it appears as a red force devouring a ship, without ambiguity.<\/p>\n As an interpreter in asylum cases, every person I accompany could be a member of my family or my close circle. Genocide ceases to be an abstract category and becomes a concrete human experience, repeated, recognizable.<\/p>\n In this work, genocide is presented as a fear we do not always see, but one that may be waiting at the bottom of the unknown. It is not a memory of the past, but a possibility that persists when human rights fail.<\/p>\n See<\/a>:<\/strong> the map that inspired me to paint this dragon.<\/p>\n [\/et_pb_toggle][et_pb_toggle title=”Life: The Fundamental Right\ud83d\udfe2 * CO ” open_toggle_background_color=”#f7f6f3″ closed_toggle_background_color=”#f7fbff” icon_color=”#B65C4C” use_icon_font_size=”on” icon_font_size=”30px” open_icon_color=”#cc6955″ open_toggle_icon=”O||divi||400″ open_use_icon_font_size=”on” open_icon_font_size=”30px” _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” global_colors_info=”{}”]<\/p>\n Acrylic on canvas and fabric pasted on canvas\u00a0 \u00a0 3 m \u00d7 5 m \u2248 9.8 ft \u00d7 16.4 ft<\/p>\n The entire Universal Declaration of Human Rights<\/strong> is based on a basic premise: in order to have rights, one must be alive. Although the right to life does not appear as an autonomous article, it is implicit in each of its articles.<\/p>\n This work represents life through the Flower of Life<\/strong>, used as a geometric structure rather than as an esoteric symbol. Its use draws on historical traditions in which geometry functioned as a language for thinking about the origin and order of life.<\/p>\n In Islamic geometry,\u00a0as found in the\u00a0Topkapi Scrolls<\/strong>, geometric abstraction enabled the expression of<\/span>\u00a0unity and continuity without resorting to figurative imagery. During the Renaissance, artists such as Leonardo da Vinci<\/strong> employed geometry to organize the body, space, and nature as expressions of rational order.<\/p>\n Here, the Flower of Life weaves\u00a0these references together to point to a fundamental idea:\u00a0life is the precondition for<\/strong><\/span>\u00a0all human rights<\/strong>. Without life, dignity, freedom, and equality cannot exist.<\/p>\n See:<\/strong><\/a> selected images from the Topkapi Scrolls.<\/p>\n [\/et_pb_toggle][et_pb_toggle title=”El Arbol de lo Anhelos \ud83d\udfe2 * CO ” open_toggle_background_color=”#f7f6f3″ closed_toggle_background_color=”#f7fbff” icon_color=”#B65C4C” use_icon_font_size=”on” icon_font_size=”30px” open_icon_color=”#cc6955″ open_toggle_icon=”O||divi||400″ open_use_icon_font_size=”on” open_icon_font_size=”30px” _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” global_colors_info=”{}”]<\/p>\n Acrylic on Canvas and imprinted inked wooden letters onto canvas, <\/strong> \u00a0 \u00a03 m \u00d7 5 m \u2248 9.8 ft \u00d7 16.4 ft<\/p>\n While developing, thinking about, and painting this series, I understood that I needed to return to the concept that gave rise to the entire project: The Tree of Longings<\/strong>. This work predates the series dedicated to the Universal Declaration of Human Rights<\/strong> and functions as its conceptual root.<\/p>\n This is not my first calligraffiti piece, but rather my first direct foray into typography as image, within the expanded field of calligraffiti understood as a fusion of calligraphy, typography, and graffiti. To create it, I acquired large-format antique wooden letters. I inked each letter and, using a rubber mallet, struck the canvas to leave its imprint. The result is a tree made of words, because both the Constitution and the Declaration are, essentially, constructed of language.<\/p>\n Several letters \u201c\u00f1\u201d<\/strong> appear in the work, a letter unique to Spanish, serving as a direct indication that the Colombian Constitution is written in this language. The large letter A<\/strong>, inspired by\u00a0illuminated initials in medieval manuscripts, stands for\u00a0\u00e1rbol<\/em> (tree) and draws on<\/span>\u00a0the medieval French Canzoniere (Songbook)<\/strong>, a manuscript filled with songs and poems. This choice underscores the optimistic and hopeful dimension of human rights. A small decorative dragon accompanies the letter, following the tradition of medieval illumination.<\/p>\n Read<\/a> Chansonnier du roi (El cancionero) pdf -E-book<\/p>\n [\/et_pb_toggle][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” custom_padding=”40px||40px||false|false” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” width=”100%” max_width=”1200px” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”05 – PROJECT PUBLICATIONS” content_max_width=”1100px” _builder_version=”4.27.6″ _module_preset=”afa39031-fd78-4e1f-8ca4-b156cbc1c6d5″ background_color=”#e2dedc” module_alignment=”center” custom_margin=”80px|||0px|false|false” custom_padding=”32px||10px||false|false” header_text_shadow_style=”preset4″ global_colors_info=”{}”]<\/p>\n + Click to open each document +<\/strong><\/em><\/p>\n This section brings together the editorial publications that accompany the development of the project. Each booklet functions as an extension of the work, conceived to circulate, be read, and shared, and to conceptually document each new stage of the codex.<\/p>\n The publications are conceived as a growing series that will expand as new sections of the project are developed<\/p>\n [\/et_pb_blurb][et_pb_toggle title=”Publication 01 \u2014 El \u00c1rbol de los Anhelos (2025) \ud83d\udfe2 * CO ” open_toggle_background_color=”#f7f6f3″ closed_toggle_background_color=”#f7fbff” icon_color=”#B65C4C” use_icon_font_size=”on” icon_font_size=”30px” open_icon_color=”#cc6955″ open_toggle_icon=”O||divi||400″ open_use_icon_font_size=”on” open_icon_font_size=”30px” _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” global_colors_info=”{}”]<\/p>\n An editorial booklet accompanying the first stage of the project,\u00a0The Tree of Longings<\/strong>, was developed in Houston, Texas.<\/span><\/p>\n The publication contains the exhibition invitation, a general explanation of the project, and the text of the Universal Declaration of Human Rights<\/strong>. The content is presented in English, in keeping with the context in which the work was developed.<\/p>\n Fifty printed copies were produced and distributed free of charge during the project’s public presentation.<\/p>\n [\/et_pb_toggle][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” custom_padding=”40px||40px||false|false” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.27.6″ _module_preset=”default” background_color=”#ffffff” width=”100%” max_width=”1200px” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.6″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”06 \u2013 CREATION TIMELINE” content_max_width=”1100px” _builder_version=”4.27.6″ _module_preset=”afa39031-fd78-4e1f-8ca4-b156cbc1c6d5″ background_color=”#e2dedc” module_alignment=”center” custom_margin=”80px|||0px|false|false” custom_padding=”32px||10px||false|false” header_text_shadow_style=”preset4″ global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.27.6″ _module_preset=”default” header_font_size=”22px” header_letter_spacing=”1px” background_color=”#ffffff” global_colors_info=”{}”]<\/p>\n Current<\/strong>\u00a0 The project is currently in a phase of circulation, research, and resource management, with the objective of ensuring the continuity of the codex and developing the next articles of the Declaration.<\/p>\n <\/p>\n 2025<\/strong> \ud83d\udfe2 * CO\u00a0 Development of The Tree of Wishes<\/em>, a work that establishes the conceptual foundation of the codex. In December, I received support from the Ministry of Culture, Arts, and Knowledge of Colombia, enabling the production, exhibition, and public presentation of the project. This process culminated in the completion of five works<\/strong>, corresponding to the first articles of the series dedicated to the Universal Declaration of Human Rights.<\/p>\n 2024<\/strong>\u00a0 Beginning of the research process and the development of calligraphy as a visual language, leading to a specific focus on calligraffiti<\/strong> as an interdisciplinary practice. During this period, I presented the solo exhibition Chiribiquete<\/em>, in which the first conceptual and formal explorations that would give rise to the project were consolidated.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" El \u00c1rbol de los Anhelos \u2013 Codex of Human RightsEl \u00c1rbol de los Anhelos \u2013 Codex of Human Rights is a long-term visual project originally conceived as a series of thirty large-scale works, each dedicated to one article of the Universal Declaration of Human Rights. It has evolved into an open system without a fixed […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":549,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-3982","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/pages\/3982","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/comments?post=3982"}],"version-history":[{"count":10,"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/pages\/3982\/revisions"}],"predecessor-version":[{"id":4043,"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/pages\/3982\/revisions\/4043"}],"up":[{"embeddable":true,"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/pages\/549"}],"wp:attachment":[{"href":"https:\/\/www.lorianaespinel.com\/es\/wp-json\/wp\/v2\/media?parent=3982"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\ud83d\udfe1 In progress<\/strong><\/p>\n![\"\"](\"https:\/\/www.lorianaespinel.com\/wp-content\/uploads\/2025\/10\/C-Preamble-683x1024.png\")
<\/p>\n![\"\"](\"https:\/\/www.lorianaespinel.com\/wp-content\/uploads\/2025\/10\/C-Firts-788x1024.jpg\")
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New branches of the same tree.<\/p>\n![\"\"](\"https:\/\/www.lorianaespinel.com\/wp-content\/uploads\/2025\/10\/C-Genocide-1024x683.png\")
<\/p>\n![\"\"](\"https:\/\/www.lorianaespinel.com\/wp-content\/uploads\/2025\/10\/C-Vida-1024x683.png\")
<\/p>\n![\"\"](\"https:\/\/www.lorianaespinel.com\/wp-content\/uploads\/2025\/10\/ChatGPT-Image-17-dic-2025-15_14_15-1-1024x683.png\")
<\/p>\n![\"\"](\"https:\/\/www.lorianaespinel.com\/wp-content\/uploads\/2025\/10\/Publicacion-01-\u2014-El-Arbol-de-los-Anhelos-2025-fp-1024x768.jpg\")
<\/p>\n
<\/a>\u2192 Consult publication (PDF)<\/strong><\/a><\/p>\n