NATALIA CASTAÑEDA AND THE GLACIERS AT ISABEL HURLEY
Aiming to explore Natalia Castañeda’s (Manizales, Colombia, 1982) personal experience through her archival and emotional artistic practice, the Isabel Hurley Gallery in Málaga presents Piel de glaciar (Glacier Skin). In this exhibition, the Colombian artist displays her intimate body of work inspired by her relationship with the mountains—especially glaciers—and all their significance.
The gradual loss of water resources is compounded by the disappearance of geological and environmental knowledge embedded in the retreating glaciers. These can be considered museums of geological and biological history, encapsulated fragments of a vital part of the world, seemingly frozen in time.
Castañeda’s work invites multiple interpretations, often grounded in methodological approaches. In addition to her own research, she uses a myriad of documentation criteria, such as cartography and field notes from her explorations, but also a poetic component in her treatment of the images.
Her approach to glaciers also contains a figurative dimension. Far from abstraction, these constitute something real that functions both as an object and as an environment. This defined space allows for a more focused reflection on the human relationship with its surroundings. Thus, the exhibition displays videos and paintings of various glaciers, as well as notebooks, sketches, and maps that, beyond mere documentation, complement the meaning of her intention.
All works are presented with equal prominence in order to reinforce her practice as a whole. The videos on display use photogrammetry to produce plasticity and a certain visual interplay with the viewer. In contrast, her paintings capture a subjective, less scientific vision, if you will, which also broadens the possibilities of artistic perception.
Piel de glaciar is on view through July 11 at Isabel Hurley Gallery, Reding 39, Málaga (Spain).
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