Puerto Rico-Colombia Exhibition at The Clemente Center, 117 Suffolk Street, NY, NY November 2018
Map of Pathways, acrylic on canvas 94 x 64 inches.
La Linea del Ecuador 2015 Map and box Mixed media 30″x 30″x 12″
Exhibited in 2015 in ” Atlas Subjetivo de Colombia ” at the Camara de Comercio, Salitre, Bogota.
2014 Acrylic and chalk on panel
210 cm x 120 cm
Video of a public interaction with erasable painting IMBORRABLE (Indelible), acrylic and chalk on panel.Interaction based on in a process of erasing and redrawing the image of the Tequendama waterfall, to evidence the environmental problems causing the disappearance of the Salto del Tequendama, an iconic site in Colombia.
Video de la interaccion publica con IMBORRABLE, acrilico y tiza sobre panel. El publico interactuo en un proceso de borrar y redibujar el agua del salto. La intencion de esta obra es senalar los problemas ambientales que estan causando la desaparicion del Salto del Tequendama.
Genius Loci: La Sabana, Exhibition at La Localidad, Bogota CO. Curated and with an essay by Eduardo Serrano
A reinterpretation of the landscape of the Bogota Sabana, in 28 oils, a large format accordion travel journal with drawings and texts on landscape, and 18 watercolors and ink drawings. Landscape, geometry, numbers and words combined in polyptychs with a detailed technique and naturalistic emphasis. An appropriation of the sabana, making visible the invisible.
Genius Loci, a travel journal of drawings, quotes, and maps. Accordion book. Watercolor and ink on paper, 50cm x 500 cm
Polyptych SABANA , oil on panel 6 pieces, horizontal installation 150 cm x 250 cm
El
Parque de la 79
This series of 30 works, drawings and paintings, is based on observations over the past one and one-half years of daily life in the park across from my apartment in Bogota: the park on 79th, a magical place.
Its scale, simple geometry, landscaping, and location in an urban center isolated from the hustle and bustle, are features that transform it into a pool-like park or carpet-like park, a stage inhabited by the community that surrounds it, its neighbors, office workers, lovers, housekeepers, guards and, of course, its dogs: Yuki, Mia, Fango and Lola, Ramon, Shiloh, Woody and Lina.
I selected as characters dogs, friends and trees, and used a circular, repetitive narrative. There are references to George Seurat’s “Sunday at the Grande Jatte,” to that peaceful bourgeois world now in the process of extinction. As I observed from my fourth-floor apartment, I discovered in the park on 79th a marvelous reality, the poetic spirit of Bogota.
This series is the testimony of a visitor to that magical place.
El Parque de la 79
Esta serie de 30 obras, dibujo y pintura, esta basada en mis observaciones durante el ultimo ano y medio de la vida cotidiana en el parque situado frente a mi apartamento en Bogota:
el parque de la 79, para mi un lugar mágico.
Su escala, su simpleza geométrica y paisajística, ubicado en el centro urbano y alejado de su ruido, son factores que lo transforman en “parque-piscina” o “parque-alfombra”, un escenario habitado por toda la comunidad que lo rodea, los vecinos, oficinistas, amantes, empleadas, guardias y, claro, los perros del parque: Yuki, Mia, Fango and Lola, Ramon, Shiloh, Woody and Lina
Utilizando una narrativa circular y repetitiva, he escogido personajes, entre perros, amigos y arboles. Hay referencias a la obra de George Seurat, “El Domingo en la Grande Jatte”, a ese mundo apacible y burgués, ya desapareciendo. Contemplando al parque desde el cuarto piso, descubrí en el Parque de la 79 lo real maravilloso, la otra parte del alma de Bogota.
Queda mi obra como un testimonio de un visitante.
You can read or download the full article at this link about the retrospective of drawing from 1993 – 2010.
Lydia Rubio Exhibition of paintings at Kunsthaus, Miami 2007 Featured works LOT 24 and Airtalk, statement by artist.
THE JOURNEY ITSELF IS THE HOME: THE ART OF LYDIA RUBIO
I.
Lydia Rubio was born in Havana, Cuba, and grew up there during the 1950’s. She has strong memories of her grandmother, who was an artist, and has honored their relationship in the painting, She Painted Landscapes, a dazzling trompe l’oeil work which undercuts its myriad of illusionistic details with both dramatic shifts in scale and open-ended juxtapositions. In She Painted Landscapes, Rubio combines fragments of ordinary reality with the mysterious, often multiple narratives underlying one’s dreams, with the pull of both memory and imagination. Everything jostles together. The viewer cannot say whether the painting is of a dreamscape inhabited by fragments of memory and reality or a realist depiction haunted by memory and fragments recalled from different dreams. Such is the primal power of Rubio’s art; it calls the ordinary into question, as well as compels us to examine our belief that our everyday life is stable enough to withstand change, and that the earth we walk on is solid and dependable. Read the [FULL ARTICLE}