The possibility that art builds textures, that through the construction of images we can amalgamate ideas that are constituted as artistic manifestations supports the notion human beings are made up of layers, stories, tunics, fibers, energies and potentialities. In this construction there is a whole aesthetic that surpasses the intrinsic possibilities of art.

While Andrés Vargas explores the ideas of progress from urban textures; Ana Werren, from intimacy, resorts to the body and its dermal layers, to interiorization through a game of exteriorization, in which she reveals the searches, conflicts and confrontation with the internal ghosts that govern us.

In the process of edification of ideas we find Matthew May, who explores the tunics of history, of his history and of the historical memory that constitutes him. New textures are glimpsed, such as the energy we imbue in gestures. The power of our gaze, that subtle gesture that materializes on a sheet of paper and that becomes visible through the intervention of some pigment on the cover of art history books as reflected in the works of Gabriel Rodriguez.

The intervention of man is given from the minuscule that can suggest a gesture or as Norman Morales does by appropriating the designs of nature and the intervention of man to create an infinite game of juxtapositions. And thus arrive at the fibers, optical fibers of a.k.a. Mathias Jaspersson that he registers in the images that go (because the incorporation of images never stops) overlapping until they are incorporated into his/our imaginary.

Thus, these artists lead us to question ourselves about the textures of the images that each one of us experiences.

 — Juan Pablo González