Colombian Artist, 41, male, with an education exclusively in the arts, first as a bachelor in visual arts from Colombia’s National University in Medellín and then in an MFA programme from Bauhaus Universität Weimar in Public art and new artistic strategies.
 My work has found its space within the polygon formed by my studio-based work, public Collaboratory and solo work, public commissions, part of the design team in architectural projects, both in contests and as built structures, lecturer within academia, professor at the bachelor and master’s levels, and aspiring low-level cultural disrupter. 

Colombian Artist, 41, male, with an education exclusively in the arts, first as a bachelor in visual arts from Colombia’s National University in Medellín and then in an MFA programme from Bauhaus Universität Weimar in Public art and new artistic strategies.
 My work has found its space within the polygon formed by my studio-based work, public Collaboratory and solo work, public commissions, part of the design team in architectural projects, both in contests and as built structures, lecturer within academia, professor at the bachelor and master’s levels, and aspiring low-level cultural disrupter. As a visual artist, my research initially centered around my artistic practice - plural as it is- and not in terms of what one imagines as formal research.
 My search for my own method of both creating, incorporating and circulating meaning and knowledge has taken the shape of a series of interdependent nodes that interact sometimes consistently and others that fade away or become something else. 

That seemingly random path, that I’d like to think of as organic, was meant to produce an environment where I could bind together my multiple interest under the question, if art can do it, where does its epistemological place within the knowledge of art lie?.
 Since my MFA and my incorporation into Academia, an interest of mine has also been the way art is taught and graded along with the way to teach the grammar of art and also how to help students conjecture means of subverting its current rules, both academic and artistic ones. 

This comes from my own collaborative practice. As a Public art practitioner, sometimes I need to interact with official funding, city planning, or other formal instances with which I prefer to interact to keep my scope wide.
 Within that, there have been some experiments with what might be understood as traditional research: papers, thesis’ lectures, participation in discussions about art education and relations between art and politics. 

The de-centralized network of knowledge and meaning creation that I have organically established to navigate my practice has needed to de-hierarchize the sources of theory and practice that I allow to affect my own work and my teaching,
 This very extra disciplinary practice makes the very definition of the limits of a research project, difficult to trace by design. 

This Continuous movement from practice to thinking and back in a continuous loop, has made my exhibitions be comprised of pieces that deal with different questions at the time depending on the context of exhibition or the rest of the pieces I decide to place near them.
 Also there are reoccurring operations that fugue through different exhibitions, art projects, papers that I write or lectures I take part in, for example.
 This means that questions can sometimes be refined, deepened, recontextualized o even changed, same goes for operations, that become more sophisticated with each iteration, changing their focus to the point where older works become part of newer discussions discursively speaking.