This exhibition proposes a dialogue between the recent plastic production of Vicky Neumann, Nohemí Pérez and Marta Ramírez; gathered under the idea of reviewing the conflictive relations between man and nature, specifically, from a perspective located in the diffuse limits that exist in this dichotomy. The pictorial representation of the natural world acquires - in the work of these artists- special prominence, as it is verified from the porosity and the multiple ways of this tension.
In Vicky Neumann's collages, made from scraps, pieces of rags, clothes, discarded paintings and embroidery, there is a chaotic and at the same time dynamic impulse to point out the contradictions that inhabit human nature; ideas how construction and destruction, clarity and chaos, overlap to point out complex and failed processes such as modernity and environmental catastrophe.
Nohemí Pérez, on the other hand, fixes her gaze on a specific territory (Tibú-Catatumbo), a geography she inhabited in her childhood and to which she resorts from the affections and emotions, but also from the historical, political, economic and social phenomena that have affected her. Her charcoal drawings of native trees in danger of extinction, on large-format canvases, suggest a vision of the tree as an individual to which she resorts from evocation. In contrast to the large-format representation of this flora, miniature animals appear carefully embroidered, as well as small human figures diminished against the grandeur of the landscape. A panorama of contrasts confronts us with the complex processes of disappearance and extinction.
In the case of Martha Ramirez's paintings and drawings, there is a vision of nature turned towards the human body. In them, due to the superimposition of layers, textures and human figures in a chain, it becomes possible to state that it is the territory that crosses man and not the other way around. This awareness of being affected by geography implies the need to erase the individual and turn it towards a collectivity that functions as an organism or a network where any movement generated in any of the points of this connection affects the other.
This pictorial triad proposes a discursive and expressive vision. If we summarize chaos and modernity, autobiographical memory and social conflicts in relation to nature, we can conclude that contemporaneity has displaced the romantic and bucolic gaze of the landscape towards a vision that questions and inverts the notions of landscape.