More about Verónica Madrid-Malo
In 2010 Verónica Madrid-Malo (1990) chose to study Art at Universidad de los Andes (Bogotá,Colombia), her major was in the area of plastic arts and her field of expertise on drawing and painting. At the same time, she began studying Literature, enhancing her conceptual interest in words. This imaginarium construct gives life to Veronica’s work: from existentialism to Spinoza's philosophical pantheism, configuring poetry as her raw material and sheltering her work under the term of "visual poetry."
It is Veronica’s desire that people find spaces were they can feel identified through art.
Among everything, being commissioned by the Colombian Memory Museum, in alliance with the National Center of Historical Memory, for the realization of one of the emblematic works of the exhibition on the conflict in Colombia, which was called Voices to transform Colombia, is her biggest achievement until this day. Her most recent project is her individual exhibition “la nostalgia de las flores” inaugurated in june 2022 in the exhibition hall of “Teatro Cafam de Bellas Artes” located in Bogotá.
By the way: Verónica has a dog, his name is Bruno. He is her “teacher” in this intrincated path of existence, as Verónica says, Bruno is her guardian angel, the companion beyond verbal language, the purest love.
Veronica's visual language unfolds between drawing, painting and mixed media, ink is her most used resource. Veronica's work lays its foundations in poetry, the curtains of nostalgia, nature and its symbols; indifference, fleeting existence and memory as the window to the scenarios of the imagination and the relative subjectivity of time. Verónica is guided by radical and reflexive empathy –a reflection that came from the intimacy of the line–: she calls her studies visual poetics. These studies born from the “melancholic” observation of the unnoticed; melancholy as the noble character of loneliness. Death is one of the central themes of Veronica's work which underlies her searches and investigations; For her, death as impermanence is the most typical possibility to life as an "open existence", visual poetry allows her to find safe spaces for mourn, creating an affective bond between her work and its viewer.
The everyday: the places that Verónica experienced while growing up –although fugitive in visual reality– remained imprisoned in her memory and became a superposition of events, one after another: letters to no one and a sad moon, bucolic and lost landscapes in an empty place within the universe. From this, she has tried to search incisively which daily circumstances trigger continuous jumps in her memory, making literal Heraclitus premise "nature likes to hide"; but that premise itself at the end, seems to decant in repetition, and time just displaces its debris.
Verónica registers and resignifies objects, she recalls places and tries to reconstruct stories... trying to make the words fall in time, although this only supposes an aporia and a direct reference to nostalgia.