Guzman, Juan Camilo

Troll (aesthetic power),  2017, Digital print on sticker, 39” x 27.5”

Troll (aesthetic power), 2017, Digital print on sticker, 39” x 27.5”

Dead Nature,  2017, Digital matte print and Plexiglas display, 33” x 39.5”

Dead Nature, 2017, Digital matte print and Plexiglas display, 33” x 39.5”

Website: www.juancamiloguzman.com
Email: jguzma@saic.edu
Phone: 3124018463 .

New-Colombian Neo-concrete Abstraction in the Times of Global Post-conceptualism.  In Honor of the Pink Dolphin of the Amazonas,  2017, Digital matte print, 27” x 39” &  Child,  2017, Digital print on sticker, 13.75” x 19.5”

New-Colombian Neo-concrete Abstraction in the Times of Global Post-conceptualism. In Honor of the Pink Dolphin of the Amazonas, 2017, Digital matte print, 27” x 39” & Child, 2017, Digital print on sticker, 13.75” x 19.5”

Today, everything is susceptible to reproduction and is over-aestheticized. The allure of imagery and objects is what blindfolds us not only in public but in private as well. My work looks like something from now, something commercial, like a poster or a postcard, cold, playful, and attractive at first sigh. I am interested in ambivalence and contradiction.

I talk about the world in a paradoxical way. I choose images from mass culture to talk about politics, art, painting, cultural issues, taste, the material world, pleasure, power, sexuality, gender and the role of the artist’s external life in the larger culture. I give the viewer an active role and contrast what they see with their own experiences and preconceptions.

I’m interested in images and how they are a construction, in cosmetics instead of aesthetics, in the nature of all of these issues as images. By adding more and more layers, I distort what is already distorted. If the world so twisted at times, why not view it with a little bit of humor? I’m able to make jokes without smiling.

The very notion of art is determined by decisions you don’t make, this becomes more evident if you are not from the Northern Hemisphere, the limitations to make decolonized decisions in the art field, show us that there is no way to alter the system or to be outside the system. Once assimilated the impossibility to make truly decolonized art. I explore these difficult matters not in order to solve them, but to implicitly highlight their deep entanglement with social relations of power and exploitation.

As an artist I feel that I need to understand what my place is in history and in the institutional system of production, the contemporary economic system in other words.
I received an MFA from Saic.


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