What happened is that I wrote a project applying for an exhibition at the Sabine Street Studios’ East Corridor Gallery named Dance of Gesture:  A Series of Monumental Explorations ( Artist Statement here)

I already had some small and medium round brushes that I was using to practice Japanese calligraphy, so I bought the XXL and XL sizes to go bigger and greater. I discovered the Japanese Sumie art forms with their meandering, free, and strict execution. I could not stop imagining an almost same-size bamboo forest made with my extra-sized brushes on very long and oversized art paper.

My exploration of calligraphy continued beyond Japanese traditions. I also delved into Arabic and Gothic calligraphy, which led me to the world of calligraffiti. I was captivated by the strictness of the trace, the freedom of creation, and its profound and open symbolism.

For a while, I learned both methods in parallel until one day, I found myself researching calligraffiti concepts more and more. I had to learn to imitate and copy other artists, how they move the flat brush, and how each has its own symbols and meanings, so I invented, explored, and created new gestures.

One day, I surrendered to the obvious. My exhibition at the ECG had changed, and the first artist statement was no longer applicable. However, at the same time, the fundamental concepts still informed my art: I was still telling stories about Colombia, working on calligraphy, line, and size, and dreaming about monumental gestures hanging from very tall walls.

So, my next exhibition is on July 18, 2024, at Sabine Studios at 6 pm, and it’s called In Asemic Ink: A Calligraphic Exploration of Colombian Symbols. And you can find the artist’s statement here