Costa Verde XIII, 2014

Inkjet print on cotton paper.

100 x 150 cm.

Edition of 5 +1 Artist Proof.


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Cliffs that are a below on which the city rests and became once the last end of its urban territory, to become a viewpoint and extension of the desire to extend the cult of ownership reflected over the ocean waters . Streaming water falls and steep ravines from the bay are the rest of the bases of concrete of an ever denser and heavier city. This below that leans and announces with a plunge its gravity over the beaches; and these images, which are a longitudinal analytical approach from where these pictures are watching, producing a new cut over the west side of the street on which we walk.

To a more consensual and speculative view to the city of greed, the pictures of Camila Rodrigo precede a look of texture to its very depths and at times to what seem to be their own shocked and taken down by gravity monsters. The debris shaped by the sediment and the alluvial rock settled for centuries, appears in close-ups like if it was anticipating symbolically to more contemporary settlements, whose collective stories these images without even trying cite and murmur with timely delicacy.

Rodrigo Quijano

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Camila Rodrigo’s recent works articulate visual and spatial situations that are strained by the uses and abuses of man in the material world. Rodrigo’s interest has shifted towards the obsessive recognition of this mark’s invasive interventions, through the aggregation and manipulation of manufactured elements.

There is a state of previous imbalance that her perception detects and that hinders the understanding of how the coexistence of unified things might occur. Nothing flows in these liquid times: everything trickles away. New rhythms constantly strike and overlap pre-existing ones, and create transformations that go from physical changes to mental projections. We live among depths, perforations, containment, produced by our imagination, drawn from what we increasingly identify as foreign in the world.

Rodrigo’s gaze covers the result of erosion, of what we consider “natural,” and gathers data with which she later creates new topographies. She identifies outlines that - while remaining distinctive of the matter - can be interpreted as arbitrary, incomprehensible, disjointed from our daily life.

Current mentalities seek to comprehend the strata of what is real without mapping the interpenetration of the sustainable and unsustainable. Without specifying areas of precise meaning, Camila Rodrigo’s artworks rely on sculpture, photography and photocopy to install an intentionally incomplete system, marked by gaps and voids, to simulate an unlearning process.

Jorge Villacorta



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