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In this essay—that appeared in the leaflet for the exhibition En la Trama personal [In the Personal Web] that was presented at the Alonso Garcés Gallery in Bogotá in June-July 2004—the art critic Carmen María Jaramillo discusses the latest work by Delcy Morelos. This installation is totally unlike her two previous projects, Color que soy [The Color that I Am] and 4,408 veces [4,408 Times], and reflects a transition to a “micro” approach and a new way of seeing the world that is not centralist in nature but arranged in the shape of a net. Jaramillo explains the creation of a sense of space, stressing the importance of extracting meaning from an exploration of the installation and the plurality of possible interpretations to be drawn from the work. The leaflet includes photographs of the layout of Morelos’ installation in the gallery.
Beginning with En la trama personal [In the Personal Web] (2004), Delcy Morelos (b. 1967) started working with fabrics, warps, seams, and networks. In this review, Carmen María Jaramillo (b. 1958) describes the artist’s new direction, discussing the ambiguity she sees in these works that look like skin and flesh. Jaramillo also points out that the work’s ambiguity affects the interpretation (the fact that it can be seen as a prison or a temple, or even as a retreat).
Ultimately, Jaramillo’s most important observation concerns what she sees in the net that Morelos weaves (steeped in a point of view that is increasingly apparent in contemporary art): the idea of a world that is no longer arranged around a central point or power center, but is structured in the form of a net where every node is a center, thus eliminating univocal or dominant thinking and encouraging a plurality of expression.
The curator and freelance researcher Carmen María Jaramillo was the Director of the Banco de la República’s art collections in 2008-2009. She was the curator of the program Nuevas Propuestas (New Proposals] at the Alliance Française and the Museo de Arte Moderno in Bogotá, and director of Artes Visuales [Visual Arts] at Colcultura. She is the author of the following books: Alejandro Obregón el mago del Caribe [Alejandro Obregón, the Wizard of the Caribbean] (see doc. # 1099546) and Carlos Rojas. She has also managed research projects such as Arte moderno y contemporáneo en Colombia [Modern and Contemporary Art in Colombia] for the Instituto Distrital de Cultura y Turismo [District Institute of Culture and Tourism] and the Museo de Arte Moderno in Bogotá. She has worked as a professor at the Universidad de los Andes in Bogotá. For more information on her curatorial documents, see docs. # 1076656, 1093289, and 1129294).
Delcy Morelos was born in Tierra Alta, and currently lives and works in Bogotá. She studied at the Escuela de Bellas Artes [School of Fine Arts] in Cartagena and has been involved in a number of exhibitions: La doble negación [The Double Negative], Alonso Garcés Gallery, Bogotá (2008); Delcy Morelos, Gt Gallery; Urgente! 41 Salón Nacional de Artistas [Urgent! 41st Natonal Artists Salon] (Cali, 2008); Mde07 Espacios de Hospitalidad [Mde07 Hospitality Spaces] (Medellín, 2007); Corporal, Contemporary Women Artists from Latin America, Schmidt Center Gallery, Atlantic University (Florida, 2004); VIII Bienal de Arte de Bogotá [8th Bogotá Art Biennial], Museo de Arte Moderno, Bogotá (2002); Bienal Internacional de Cuenca [Cuenca International Biennial] (Ecuador, 2001); and VI Bienal de La Habana [6th Havana Biennial], (Cuba, 1996). She was chosen to participate in the Flaxarts Studios Residency Program, Belfast (Northern Ireland, 2006), and was awarded the Bienal Internacional de Arte ES2002 [ES2002 International Art Biennial] prize by the Centro Cultural Tijuana (Baja California, Mexico).