Studio Shorts: Gonzalo Fuenmayor

Produced by Oolite Arts

Gonzalo Fuenmayor is a painter and drawer from Columbia based in Miami.

His work deals with the duality of North American and Latino culture in the context of exoticism and hybridity. He is interested in the relationship between the object and the viewer experience, but focuses his practice on the process of painting and drawing rather than the object itself.
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A Painter Who Draws: Gonzalo Fuenmayor

Produced by Oolite Arts

In this video, Fuenmayor gives us an inside look into his studio where he works with charcoal on paper. These remarkably precise charcoal drawings explore themes of colonialization, identity politics, and assimilation. The results are a powerful combination of Surrealism and social criticism. 
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Gonzalo Fuenmayor in conversation with Emily Kuhlmann

For Gonzalo Fuenmayor's third solo show at Dolby Chadwick Gallery he and Emily Kuhlmann, Director of Exhibitions and Curatorial Affairs at the Museum of the African Diaspora tour his 2019 exhibition, "Empire".
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Gonzalo Fuenmayor – Ellies Winner 2018

Gonzalo Fuenmayor discusses the large-scale charcoal drawings at the core of his current practice, and the use of his Ellies award to spend more time in the studio creating these pieces that help advance his career.
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Gonzalo Fuenmayor - working on piece "Imperial Dementia" for upcoming show at Dolby Chadwick Gallery in May

Video made by Edson Smitthers
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Gonzalo Fuenmayor - Bemis Center

A video from the Bemis Center of Contemporary Arts, where Gonzalo Fuenmayor was a resident artist in 2014.
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Papare Project

The recent body of work examines ideas of exoticism and the complicit and amnesic relationship between ornamentation and tragedy. Opulent Victorian chandeliers and other elements, reminiscent of a decadent colonial past, proliferate from banana bunches, alluding to a tragic and violent history associated with Banana trade worldwide. I am interested in how ornamentation with its grace and excess has the capacity to camouflage and overshadow questionable circumstances of all kind.

In the latest series, several victorian chandeliers were attached to banana bunches in the midst of a banana plantation, lit at night and then photographed. The theatricality and dramatic nature of the imagery, subordinate the contradictory into a delicate and imaginative order, evoking a certain kind of reconciliation or tense harmony between two disjointed realities. As the past, the present, the exotic and the familiar collide, absurd and fantastic panoramas arise.
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