Ana Ceron (°1992, Armenia, Colombia) makes photos, paintings, photos and films. With a subtle minimalistic approach, Ceron touches various overlapping themes and strategies. Several reoccurring subject matter can be recognised, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations.
Her photos are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By creating situations and breaking the passivity of the spectator, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
Her works often refers to pop and mass culture. Using written and drawn symbols, a world where light-heartedness rules and where rules are undermined is created. By merging several seemingly incompatible worlds into a new universe, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By manipulating the viewer to create confusion, she wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important.
Her works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. By using popular themes such as sexuality, family structure and violence, she creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, she uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
Her practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination.
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