Juan Mejía's visual work has multiple orientations. In one of those, he examines art education from various angles and temporal and spatial dimensions, fueled by the collection of images and references to literary works that have accompanied him throughout his life. He creates allegorical images that can take the form of a 1960s television heartthrob, an accumulator of objects, a collector of drawings or a painter of shipwrecks, as in his exhibition 'Hacia un lugar común' at MAMBO, which made him a recipient of Premio Luis Caballero in 2015.

For the series of tents, on which he has been working since 2020, he builds collages or expanded drawings with found materials, presenting the paradox of such an object as first-world entertainment and also as an emergency shelter.

Drawing appears as a constant exercise as can be seen in the self-publications of 'Cuadernos' (perhaps as a way to kill time? perhaps as a way to remember?). However, he visits painting, video, performance, installation, ceramics, collage, assemblage, and any medium that responds to the needs and curiosities that each process presents.

Approaching Juan Mejía's practice is similar to looking through a crystal prism. With his interpretation of his personal archive, anachronistic, free and always informed by academia and popular culture, he reflects the lateral objects but never the object in front of him. A surprise given the habit of house mirrors.