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The collage I made as the artwork for the interview with Gonzalo Fuemayor that will be featured in Adhesivo Magazine issue 2
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Interview with artist Gonzalo Fuemayor for Adhesivo Magazine issue 2
Tell me more about your story, I know that you started out as an administrator in Colombia
GF: Originally I wanted to study Advertising, and my dad who is a Chemical engineer suggested that I start with Business and Administration to then specialize in marketing. To be honest, all I wanted to do was paint and envisioned myself as an illustrator for Ad campaigns. I took my dad’s advice and enrolled in Business and Administration for two and a half years, decided it wasn’t for me and applied to the School of Visual Arts (SVA) in New York, where I was accepted with a full scholarship from the Keith Haring Foundation.
After graduating from SVA, I worked in New York for a couple of years before moving to Boston where I completed my MFA in the School of the Museum of Fine Arts. I spent some time between Boston and New York before moving back to Colombia, where I started to teach at a University and began a career as an Illustrator. A few years forward, I am now based in Miami, where I live with my family and work as an Artist.
you’ve previously explored photography and film. What drew you to use charcoal?
GF: I consider myself a painter above anything else. I treat my drawings like a painting.
How did I get here? Well, I graduated from college and was painting with oil. I moved to New York and charcoal was more practical, cheaper and easier to store. Since I was the only Latin American in the program, I wanted to become more exotic. I would saturate colors and associate things with the Colombian Caribbean. In Boston, I started to camouflage this under a black and white curtain that gave me the option of creating provocative pictures without presenting any predictable clichés.
what sparked the idea of mixing elements from South America with colonialism and western culture?
GF: As I studied the history of Colombia and the violence behind it, I realized that bananas were the starting point of it all. I became interested in the Victorian era in which bananas were symbols of power. I started drawing colorful bananas at a big scale, and later, I switched to black and white. Most of the images I use in my work are from the XVII and XVIII century; I try to translate them in a different way.
how has your work evolved after living in such different places?
GF: I feel that if I had stayed in Colombia I would not be drawing bananas, I would probably be doing something completely different. That came from my attempt to exoticize myself because I’m an immigrant from one of the banana republics. This is my homage to its history, but at the same time, it represents how I look at things from abroad. It is that distance that forced me to look deeper. Here in Miami, I have not felt the need to exoticize myself as I did when I was in NY or Boston. A lot of images have surfaced from being here because it feels like the intersection between north and south.
you’ve experimented with photography and video, have you considered the possibility of exploring other mediums?
GF: Yes, actually I have had. My drawings are so complex that it takes me from one to three months to finish them, from conceptualization to the final application of charcoal. In my mind, they have evolved into more than two-dimensional drawings, they become ideas for sculptures and installations which I have added to my to-do list. But more than doing things in different mediums, I am interested in the ‘why’ of things. I don’t want to do something just for the sake of doing it if I don’t feel a connection or see a meaning behind it. I’m going on a trip to Colombia and not taking any drawing materials. All I’m taking are my cameras. We’ll see what new ideas spark from leaving my comfort zone, which is drawing.
where do you think the art market is going?
GF: I would not be able to tell you, even though I depend on it to live. It is something I try to stay away from. I try not to be influenced by current trends; otherwise, I would probably be making ceramics or textiles. I am faithful to the ideas I have been exploring and I want to keep doing something meaningful to me at the end of the day. I am open to working in other mediums as I mentioned before, but it needs to have a relationship with my line of work.
do you see yourself staying in Miami?
GF: You never know. Right now this is home.
do you have any upcoming projects?
GF: A solo show in San Francisco, in May 2019.
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work with DatLook as art director for the production of Namilia’s party during NYFW 2017
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curated and hung pop up show for emerging artist Joaquin Salim at 208 Bowery st. in New York November 15th, 2018
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Created promotional material for Rob Wynne’s show at Galeria Impakto in Lima, Peru.
The promotional material consisted of videos for social media posts and invitations for email blasts.
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This invitation I designed and assambled to be sent out by mail to all of RxArt’s friends and donnors, inviting them to the unveiling of the project with artist Dan Colen at St. Mary’s Hospital for children.
The invitation was inspired by the artsist Dan Colen’s installation which is based on his confetti work. the invitation consisted of a clear PVC envelope filled with confetti and sealed with a clear glue letting the guests shake the invite and see the confetti move. The event details were printed in stained clear sticker making it easier the invitee to read.
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This is a fun invitation video created for RxArt’s party in 2016 honoring the artist Rob Pruitt.
RxArt is a nonprofit located in New York with the mission of healing through visual art by comissioning installations in hospitals focused on the pediatrics department.
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Proposal created for the Anderson bar to develop a line of uniforms for staff and merchandise inspired by that 80′s magic and beach vibes for the shack bar in the outdoors of the place.
The Anderson is an 80′s vibe bar and cocktail lounge located in Miami’s Upper East Side neighborhood that belongs to the Bar Lab hospitality group.
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As a creative consultant for the VASE team I worked in the process of conceptualizing, designing and comisioning the construction/build out of the installation.
The installation invited the public to walk into a build out covered in a mirror paper where they could take a picture laying flat or standing. The angles where everything was placed causes a trompe l’oeil effect where they would be reflected on the ceilling alluring as if they were floating.
Borderline Refelctions was an intallation presented during the Young Artist Innitiative event called Complements & Dichotomies. this event took place at the 1111 building located on Lincoln Road from the 23rd to the 24th of February, 2017.
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As a creative consultant and part of the Vase team, I was part of the conceptualization, logistics and setting up of this interactive installation called “Do Not Pop”. The installation consisted of a selected area in the buildings second floor covered with bubble wrap, with the purpose of inviting guests to resist the urge of popping the bubbles by already telling them not to.
Do Not Pop was part of the Young Artist Initiative (formerly known as RAW Pop up) in Miami at the Moore Building located in the Design District. October 28th, 2016
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