Adrián Villar Rojasthe end of imagination, 2024

hand-painted reproduction of piero della francesca’s madonna del parto, layered composites of organic, inorganic, human, and machine-made matter including metals, concrete, soil, plaster, wood, sand, marble dust, glass, salt, wax, resin, pigments, water, tree barks, adhesives, spray paint, salvaged auto parts, recycled plastics

variable dimensions

About the artist

has built a practice working across multiple forms of media to create immersive environments and experiences that evoke a state of perpetual space-time travel. Evolving his methodology over many years towards topography-based, mutant, organic-inorganic systems, the artist invites viewers to become explorers of an unpredictable microcosmos—where the future, the past, and alternate versions of our own present interact as a constantly changing totality. Through this world-building, Villar Rojas posits the question: what if we could see and think of ourselves—humanity—from an alien perspective: detached, unprejudiced, even amoral? What if we could see and think of ourselves from the border of our own completed path? Villar Rojas has been recipient of numerous awards, including: the Sharjah Biennial Prize, awarded by the Sharjah Art Foundation (2015); The Zurich Art Prize at the Museum Haus Konstruktiv (2013); 9th Benesse Prize in the 54th Venice Biennale (2011); Nuevo Banco de Santa Fe Scholarship for Young Artists (2006); and first prize in the Bienal Nacional de Arte de Bahía Blanca at the Contemporary Art Museum of Bahía Blanca, Argentina (2005). In 2020 he was nominated for the Hugo Boss Prize, Solomon R. Guggenheim Museum, New York, NY.

Adrián Villar Rojasthe end of imagination, 2024

variable dimensions

About the artist

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