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

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

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

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... 

The Nature of Temptation #2

Lonely Mountains

MIRARI is the digital film I created that responded to the pandemic time. As a fashion and digital designer, I started from the fashion perspective. I'm trying to build an ideal state of design, making this system by exploring more about the visual world and trying digital access. This way also becomes an interaction between garments and the wearer. With emotion and a sense of participation, I believe it can extend the life span of garments.

I use an abstract video to show my concept and the process of the system. I respond to the current pandemic time with "proximity" and "Hope” and get patterns from AI. When people enter some text, AI translates and retouches it into graphics which can use as a pattern. People get printed from the act of breaking through the fabric and enter an ideal and more personalized world.


MIRARI

The hierarchy smashing naturality, destroying beauty. Focused only getting on top of the pyramidical system we didn't realize that even if we are on top we are still a cup which someone else use for pouring his liquid.


Red clay and plants

Mechanism of hierarchy 

Handmade collage of randomly folded paper with a thin metal leaf folded. A3 fine art paper

Paintings part of the : "WHO AND WHAT WE SURROUND OURSELVES WITH IS WHO AND WHAT WE BECOME" 
Inspired by transformation and acclimation of objects related to their settings and the space around them.

Oil on cradled wood_ 30x30x1.75_ 2021

Green Baccarat Bunny

When creating the series of Gaia Rise, I sought for the connection with one of the earliest and most universal deities of ancient myth is the personification of Earth: Gaia, who’s equivalents in Earth goddess have been relevant in Asia, India, or South American cultures like the Aztecs. However, Herodot describes Gaia not only as a caring or nurturing mother, but also as volatile and erratic in nature. This insight motivated me to think about our present condition on Earth and how much our lifestyle has contributed to the exhaust and extortion of natural resources and ongoing extinction of species, languages, cultures and ethnicities. Those myths set exemplary narratives we need to remember as a call for change for a paradigm shift away from economies towards ecologies.
Each piece of the cycle depicts distinct mythological themes animated by Mother Earth’s close and far relatives, which have formed the base of Western culture updating these classics into cautionary tales.
Mythological themes are montaged into a tapestry of devastated, neglected or exploited landscapes. Gaia Rise retells the myths of Mnemosyne, Perseus, Medusa, or Prometheus, which have formed the base of Western culture updating these classics into cautionary tales. I have reinterpreted ‘Gaia’ into extended versions, in order to explore the political violence embedded into motifs of landscapes in volatile conditions that have expanded globally. I explore how Gaia is vulnerable and completely out of balance along with all atmospheric formations of climate change as an outrageous result of human activity. 
Through the use of corrugated cardboard, the ubiquitous signature of our globalized consumerism, I process mixed media, natural and anthropogenic material and matter into multilayered paintings. Through disappearance and disintegration principles, I share underlying tales of ancient myths of powers and forces transforming the planet. I apply painterly gestures and join abrasive operations, destruction, disintegration, and reconstruction of tattered textures. I shred crusted layers of mixed media incorporated with found object and materials from corrugated cardboard, forming the delicate, vulnerable spheres that we occupy.The process reflects exactly on human-kind’s capacity of building, unbuilding and destruction. I build up layers of corrugated cardboard, just with the purpose to destroy again. As Mark Jenkins of the Washington Post once pointed out being a "builder and destroyer."
Favorite tools: worn out mops, giant spatulas, and buckets of water. Those tools support the concept of erraticism, erosion, and raptures in our doing, the intended unintentional, the speculated unforeseen.


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