Juan Arreaza

Sobre el artista


The construction of these imaginary scenarios refers to economic models, indicating that from their structure as materials, their production, and waste (as in the case of packaging papers), as well as in the different qualities, formats, and weight; present visual options functioning as the intervened supporting medium. Here are different images that invite to play, seen from the action performed by the drawn character, or the game to modify the supporting medium, as well as having to look for the character within the folds or wrinkles of the paper. A game that can also be found in the exploration and contextualization of each of the pieces; in the transformation of the material from mass and industrialized production, and which through these representations, point to the consumption engineering, as they unify, mutate and become unique pieces.

This series of drawings even refers to daily encounters of images and characters, that survive from their craft; to the visual reading that can extend to the physical aspect, or depth of the duties in a job, where an independent worker assumes the sacrifices needed to respond to needs or commitments. And just the same, at a personal level, it refers to the passionate desire to be independently creative; and, for finding what can alleviate the emotion of creating, questioning or stopping at a situation that may reflect a stalking, demanding and even limiting system. In this way, from the visualization of gigantic volumes, and the feeling of what the overload can generate as a visual impression, it is then conceived in miniature drawings; which on the one hand contrast such inscribed reality, and at the same time, invite to focus on the view about its manufacture and its meaning.

Paper, waste, the constant replacement of each item, tool, product and image, barely point amongst logos at a solution that seems momentarily, to be pointing directly at the «recycling», or rather, the reuse of materials that makes them almost eternal, in useful life or residual. And, eternal in the sense that the market re-manufactures them, re-names them and re-sells them. In this sense it could be assumed that by contextualizing them from their status as waste, to turning them into objects that are recognized as valuable, with monetary and cultural power once placed in a frame, and hung in a show room, they become the «end” of the cycle of consumption being revered.

Biografía del artista

Currently studying a master of Drawing and painting at the Florence Academy of Art in the US campus.

2004 Graduated from the Jorge Tadeo Lozano University in Bogota, Colombia

2007 Certification in Children’s Illustrations Techniques from the Jorge Tadeo Lozano University

2005 Engravings over metal with master Marcos Roda

2007 «Huellas de Cambio» (Footprints of Change)

2008 Campaign for military penal justice «Arbol de Valores» (Tree of Values)

2010-2011 Sculpting artist of the monument in memory of «the 19 traders» in Bucaramanga, Santander

Publications in the Etnollano Foundation, with the project “Traditional Indigenous fishing “ in Matavén Jungle, Vichada, Colombia.

2010-2011 Organizer and participant of the Biblotrazo Project at four of the most important Public Bibliaries, Bogota Drawing Project

2010 Illustrations in the book «Entre Cantos y Llantos» (Between songs and Cries) from the Sikuani Culture

2011 52nd poster session in the Bogota Drawing Project

2011-2012 Colombian the «En El Medio» (In the media) Magazine from the Pontifical Javeriana University

2013 Cota Mairie Book (Raices de Nuestra Gente) “Roots of Our People”

2014 Julio Carrizosa Book (Colombia Compleja) “Complex Colombia”

2017 Etnollano and the International Cooperation Presidential Agency Colombia, and the Colombian Reconciliation Program book “Mapiripan”

Adrián Ibáñez Galería, Tabio, Colombia
2019 Moberg Gallery, Iowa, USA
2018 Colombian Consulate, Miami, USA
2018 Arte Laguna Prize 12 at the Arsenale in Venice, Italy (Biafarin Honor Award) 2017 “Idols” at the Barcu art fair, Bogotá, Colombia
2017 3hands, aMano Creative Laboratory, Bogotá, Colombia
2017 Bogotá Rotary Club, “Rotary in the Art” Leonardo Da Vinci School
2016 “Outside” in Tabio, Colombia with POLIEDRO ARTS and also at the ARTCali fair
2015 “Essence”, in in Bogotá and “THE SOLAR” with ZQD Gallery in Bucaramanga
2013 Roots of Our People, Cota Mairie
2010 The other / participant with the collective Mr. Nobody in the project «I exist» (Existo) Bogota D. C.
2005 – 2006 XIII National Contest of Painting BBVA, House of Currency-Bank of the Republic, Bogota D.C. Full Moon Art Show Saint
Michel Hotel in association with Sacred Entertainment, Coral Gables, FL USA
9 Salon of Academic Art
Gilberto Alzate Avendano Foundation
Comfandi Lobbies, Cali-Colombia
Academic Art Museum, Medellin-Colombia
El Tintal Library, Bogota
El Tunal Library, Bogota
2004 The Garage, Collective of Young Art II, Alternate Lobby, Bogota
Citiexposiciones (Citiexhibitions) – Young Colombian Artists, Citibank Bank Bogota
2003 XI National Contest of Painting BBVA / Rancher Bank (Banco Ganadero), Virgilio Barco Library, Bogota

2016 Over load at aMAno Creative Laboratory, Bogotá
2014 Witzara, (where plane becomes jungle) Mambe.org, Bogota – Colombia
2005 Project Design / Art, Decoration & M Bogota – Colombia

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Adrián Ibáñez Galería