Sair Garcia

Rivers in Colombia have been partners in the occurrence of the country in all its periods, especially as a means of transportation and communication, but in recent decades they have also served as silent witnesses of injustices and unfortunate events, especially the Grande de la Magdalena River, whose only name is synonymous with pain and regret, around which Sair Garcia’s work has mainly revolved.

However, his work, instead of being explicit, has been suggestive and, in spite of recording suffering and torture, he testifies them in a subtle and suggestive way through the representation of scenes and places that show them. On this occasion, García presents an installation that reproduces the future of the river, its sinuosities and its apparently placid flow, and does so using steel, a metal that not only recalls its waters due to its color and texture, but also its conductive nature, its ability as a conductor, as a transmitter, it manifests an attribute it shares with the river and eloquently contemplates the metaphor.