Juan Carlos Gómez B.
1968 Born in Santa marta, Colombia
1985 - 1997 Juan Carlos studied fine art in Bogotá, Colombia, and participated in his first solo and group exhibitions.
2000 - 2004 He moved to Santa Marta City, in the Colombian Caribbean, where he completed his anthropology studies at The University of Magdelena. At the same time, he began to combine his interests in the arts and anthropological studies. He produced his "Territories" series, where he explored the possibilities of the pictorial space. These pieces are characterized by a reference to the telluric (of the earth) and the organic shown through surfaces loaded with textures, spellings and marks as an expression of the trail and the footprint of mankind.
As a result of his interesting academic explorations through the medium of abstract painting, Juan Carlos participated in the following exhibitions:
2000: “The International Collegiate” at the Collège Jacques Cartier, Chauny, France
2004: Solo exhibition “Art Contemporain de Colombie” at Galerie JMArts in Paris, France
2015: Jurors choice award for art installation "Drifts, traces and mappings" in the 15th Regional Salon of Artists-Caribbean Zone in charge of the Curatorial Group Pictografonía and the Ministry of Culture, Barranquilla, Colombia.
2017: Exhibition "2058" of the Ciclo PRISMA, as part of the International Art Fair of Bogotá ARTBO-2017.
2017: Part of Juan Carlos’ research in the field of anthropology was closely linked to the production of his installation "Drifts, traces and mappings" and as a result it was presented in Havana, Cuba in the conference entitled "Hybridity and transculturality in the Caribbean art of the twentieth century " at the Cuban Institute of Anthropology.
Juan Carlos currently lives and paints in Santa Marta, Colombia where he is also professor of Anthropology at The University of Magdalena.
The works of Juan Carlos Gómez have been marked by the experience of transience, appealing to compositions, objects, and indecipherable spellings, which refer to ordered and erratic traces as an expression and condition of the human being. An intention to generate a kind of cartographic record, of imprecise mappings, where the spectator can demarcate his own routes and drifts: it is, then, the stubborn and incessant re-writing of everyday and prosaic spaces. By virtue of this, as a contemporary artist he has tried to consolidate his own artistic language, and this is reflected in his recent series entitled "Cartografías", where his concern for the relations of contemporary man with his living environment persists and concrete: relationships that sometimes appear unusual, and even unsuspected.
In that attempt to decipher the motivations of the process of creation itself, Gómez himself notes that although the formalist theory of drift deals with the appropriation of the physical and geographical environment, his interest is more oriented towards the terrains of the event, of the experience: beyond the staging, what he pursue is true. mimetic edge to promote relationships inherent in the creative process. Between variation and sequence; from order to the intervention of space itself. It refers, then, to the situated but mutable object; to gestures and indecipherable spellings that, in turn, refer to the erratic imprint and the imprecise trace. ~ Javier M.