GUILLERMO GARCIA CRUZ
DIVERGENT STRUCTURE
SOLO EXHIBITION
PIERO ATCHUGARRY GALLERY
Curator Rina Gitlin
MIAMI / Florida
JANUARY 2025
Divergent Structure is an installation that presents a parallel dimension where disjointed sculptural geometry reveals a landscape that intertwines the physical and digital realms. In this work, his most ambitious exploration beyond the canvas, Uruguayan-born Guillermo Garcia-Cruz examines the impact of technology on contemporary life through metaphor. He uses pillars of varying sizes to express strong contrasts between the organic and inorganic matter, as well as dynamic and static forms.
SCREEN II Galería del Paseo
SOLO EXHIBITION
Curator: Max Hernández Calvo
LIMA, 2024
Screen II explored the smartphone and digital screen as structures that increasingly mediate our everyday experience of images. Using RGB colors and vertically oriented, offset rectangular formats, the paintings connect the legacy of Latin American geometric abstraction with the visual language of contemporary devices. As curator Max Hernández Calvo described it, the Screens series is “a pictorial rethinking of the guidelines of Latin American geometric abstraction” from the perspective of light-emitting screens. The exhibition also included brick sculptures that extended this dialogue into physical space, establishing connections between digital structures and Peru’s material and pre-Columbian architectural traditions.
GLITCHED SPACE II
SOLO EXHIBITION
BARRANGUET ARTS
Guest curator: Natalie Kates-Ferri
EASTON / CONNECTICUT
JULY 2021
This residency marked an important period of material experimentation within my practice. Working through a series of small-scale studies, I explored unfamiliar materials, supports, and processes outside the demands of producing finished exhibition works. During this period, I began to incorporate the frame itself as an active part of the work, extending the composition beyond the conventional boundaries of the image. The residency became a laboratory for testing ideas and material possibilities that would later inform the development of my paintings and sculptural practice.
GLITCHED SPACE I
GALERIA NUEVA - DUO 1/5 WITH MAGDALENA ARNAUD
MADRID, ESPAÑA
2021
This exhibition explored the concept of the glitch as a metaphor for disruption and temporary instability. Developed during the COVID-19 pandemic, the project connected the visual language of digital error with a broader moment of global uncertainty and transformation. Through a site-specific intervention that altered the architecture of the gallery, I approached the exhibition space itself as an unstable system, reflecting on how the pandemic accelerated changes in the structures and conventions of the art world. The temporary nature of the intervention, eventually returning the gallery to its previous state mirrored the logic of the glitch: a disruption that alters a system without necessarily destroying it
EVIDENCIA
ESPACIO DE ARTE CONTEMPORANEO
Montevideo, Uruguay, 2019
The recognition of the surfaces that precede us, the traces and mnemonic imprints of an architectural space, is an intrinsic part of our experience of inhabiting. The relationships between body, enclosure, and dwelling define, question, and transform the identity of built spaces, even when they appear to be structurally delimited.
Here, we encounter a room, a former cell, temporarily transformed by the effects of light, producing an auratic and spectral reconfiguration of its confines. The intervention seeks to intensify this temporal oscillation, exploring the constant and inevitable shifting of meanings through which the building’s history as a prison is at times concealed and at others revisited by the different narratives that now inhabit it in its new function.
The work establishes a dialogue with Walter Benjamin’s concept of the “aura,” understood as “the unique appearance of a distance, however near it may be.” Its intention is therefore to render the space visible, to redirect our gaze toward it. What it was, what it is, and what it might become converge in a composition that does not seek to function as a document, nor claim documentary rigor. Instead, it draws upon the space’s former condition and delves into its density.
The experience unfolds through an interaction situated at the thresholds between architecture, painting, and sculpture, within the spatial and temporal fabric particular to this enclosure.
G.G.C.
