Alejandra Lopez

Duo show at Lab23 with artist Maria José Crespo. A collection of kites made off fabrics printed during my residency at Frans Masereel centrum in Belgium.

A collection of kites made off fabrics printed during my residency at Frans Masereel centrum in Belgium.

A collection of kites made off fabrics printed during my residency at Frans Masereel centrum in Belgium.

Installation shot of presentation at Stroom den Haag as part of their program Positions.

Installation shot of presentation at Stroom den Haag as part of their program Positions.

Installation shot of presentation at Stroom den Haag as part of their program Positions.

Trying to piece together myself by looking at old work, I found a pile of papers with the traces of the process of old drawings; papers where I had tried and tested colour pencils and markers in preparation, or gone over the page unto with the motion of my hand. I had kept them out of a tendency to collect most anything, even mistakes. They were the leftovers of more figurative still life drawings that had attempted to look beyond the meaning of the objects being drawn. They were the leftovers of my attempts at allowing the objects to acquire a logic of their own. I wasn’t sure if the intended drawings had done so, but these little papers and the traces they contained seemed to be living in a parallel world. So I began to draw them and to care for these marginal marks. Centering them and giving them space has become a practice of mapping and thinking through current uncertainties and unknowns.

Trying to piece together myself by looking at old work, I found a pile of papers with the traces of the process of old drawings; papers where I had tried and tested colour pencils and markers in preparation, or gone over the page unto with the motion of my hand. I had kept them out of a tendency to collect most anything, even mistakes. They were the leftovers of more figurative still life drawings that had attempted to look beyond the meaning of the objects being drawn. They were the leftovers of my attempts at allowing the objects to acquire a logic of their own. I wasn’t sure if the intended drawings had done so, but these little papers and the traces they contained seemed to be living in a parallel world. So I began to draw them and to care for these marginal marks. Centering them and giving them space has become a practice of mapping and thinking through current uncertainties and unknowns.

Trying to piece together myself by looking at old work, I found a pile of papers with the traces of the process of old drawings; papers where I had tried and tested colour pencils and markers in preparation, or gone over the page unto with the motion of my hand. I had kept them out of a tendency to collect most anything, even mistakes. They were the leftovers of more figurative still life drawings that had attempted to look beyond the meaning of the objects being drawn. They were the leftovers of my attempts at allowing the objects to acquire a logic of their own. I wasn’t sure if the intended drawings had done so, but these little papers and the traces they contained seemed to be living in a parallel world. So I began to draw them and to care for these marginal marks. Centering them and giving them space has become a practice of mapping and thinking through current uncertainties and unknowns.

Trying to piece together myself by looking at old work, I found a pile of papers with the traces of the process of old drawings; papers where I had tried and tested colour pencils and markers in preparation, or gone over the page unto with the motion of my hand. I had kept them out of a tendency to collect most anything, even mistakes. They were the leftovers of more figurative still life drawings that had attempted to look beyond the meaning of the objects being drawn. They were the leftovers of my attempts at allowing the objects to acquire a logic of their own. I wasn’t sure if the intended drawings had done so, but these little papers and the traces they contained seemed to be living in a parallel world. So I began to draw them and to care for these marginal marks. Centering them and giving them space has become a practice of mapping and thinking through current uncertainties and unknowns.

Trying to piece together myself by looking at old work, I found a pile of papers with the traces of the process of old drawings; papers where I had tried and tested colour pencils and markers in preparation, or gone over the page unto with the motion of my hand. I had kept them out of a tendency to collect most anything, even mistakes. They were the leftovers of more figurative still life drawings that had attempted to look beyond the meaning of the objects being drawn. They were the leftovers of my attempts at allowing the objects to acquire a logic of their own. I wasn’t sure if the intended drawings had done so, but these little papers and the traces they contained seemed to be living in a parallel world. So I began to draw them and to care for these marginal marks. Centering them and giving them space has become a practice of mapping and thinking through current uncertainties and unknowns.

Graduation publication, led by Delphine Bedel following Lucy Lippard’s 1969 travelling exhibition Numbers. 15 cards (10 x 15 cm each) that if assembled together would make up the following drawing.

installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.

Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.

Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.

Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.

Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.

Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.

Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.

installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.

installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.

installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.

Installation view. Piece made for the occasion of MAR group show "I was mostly delighted, but yes, also a little bit afraid." at Quartair.

Installation view. Piece made for the occasion of MAR group show "I was mostly delighted, but yes, also a little bit afraid." at Quartair.

Installation view. Piece made for the occasion of MAR group show "I was mostly delighted, but yes, also a little bit afraid." at Quartair.

A large scale drawing concerning the usually long path that connects the size of your antenna to some selected words of unspecified direction, to his intentions being squashed by a toe to the east of the sea, to a sneeze from last week, to being impeccably still, to a perfectly balanced sprouting potato growing old, growing mouldy, growing strong, growing lonely. Shown as part of group exhibition The ongoing conversation #6 at 1646

Shown as part of group exhibition The ongoing conversation #6 at 1646

Part of a group show investigating weeds, in particular Japanese Knotweed, a colonial plant - once a botanical jewel, now illegal to posses

Colour pencil on parchment paper and Japanese paper, blue pigment on bricks, pencil shavings, pencils, sewing pins, various found plastics, playdo, four, coloured string, green ristler roaches, coloured tape

Colour pencil on parchment paper and Japanese paper, blue pigment on bricks, pencil shavings, pencils, sewing pins, various found plastics, playdo, four, coloured string, green ristler roaches, coloured tape

Shown as part of group exhibition The ongoing conversation #6 at 1646

installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.

A collection of kites made off fabrics printed during my residency at Frans Masereel centrum in Belgium.