ALEXANDRA McCORMICK  
amcc@alexandramcc.com
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Alexandra McCormick is a visual artist based in Montreal. Her practice explores the relationship between landscape, memory, and time through watercolor, installation, and photography. Her work combines observation and materiality, creating narratives that connect nature with everyday life. She has participated in exhibitions and residencies in Colombia, Argentina  and Canada, developing projects that engage in dialogue between lanscape and territory.

CONTACT
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Awards and Recognitions:  She was nominated for the Sara Mondiano Prize in 2013 and won second place at the Young Artists’ Salon of Nogal. In 2008, she received an honorable mention in the Master’s Program in Visual Arts at the Universidad Nacional for her thesis Oficina de Patrimonio Intangible. In 2005, she won third place in the IV Photography Salon El Municipal, and in 2003, she obtained first place in the contest organized by the Instituto Distrital de Cultura y Turismo. Between 1998 and 2002, she was awarded an academic excellence scholarship at Universidad Jorge Tadeo Lozano.
Recent Exhibitions:She has participated in national and international exhibitions, including Regarde! 2024 in Montreal. Curated by Eunice Bélidor, ArtBO, ArteVivo, Artesanías de Colombia, MDE15 at the Museo de Antioquia in Medellín, the National Salon of Young Art, ARTBO and Arte Cámara, and the BBVA Salon. Her work has been exhibited at the MACRO Museum in Argentina, The World Bank Art Program in Washington, and the Provincial Center for Visual Arts in Havana, Cuba, as well as the Banco de la República in Colombia.

Teaching and Collective Projects:
She has led workshops and laboratories in Bogotá and other regions of Colombia in collaboration with Banco de la República, the Ministry of Culture, and Fedepalma. In addition, she has taught drawing at the Universidad Pedagógica and sculptural and three-dimensional languages at Pontificia Universidad Javeriana. She has participated in collective projects in Rosario (Argentina), Bogotá, and Cali (Colombia).

Solo-Main Group ExhibitionsThe Future Holds Something For Us 
New York, USA
2025

Inter Medio Exhibit
Gallery Jano  
Curator Riesbri
Montreal, Canada
2025

Regardez! 2024 
Curator eunice bélidor Montreal, Canada
2024

ArtBO, ArteVivo,
Artesanias de Colombia
Bogotá, Colombia
2024

ArtBO,
Programa Referentes
MAP.
Bogotá, Colombia
2023

Gilberto Alzate Foundation Encounter: Longings of
Observation and Listening Bogotá, Colombia
2022

Gilberto Alzate Foundation. Encounter: Longings of
Observation and Listening. Bogotá, Colombia.

Banco de la republica,
Ires y venires
Museums Collection
Bogotá, Colombia.
2022

Los Nogales School.
Colombia Hall.
Bogotá, Colombia.
2019

Rincón Projects, Expanded Territories.
Bogotá, Colombia
2019

Elvira Moreno Gallery. In House.
Bogotá, Colombia
2019

Casa Cano Gallery.
Romance.
Bogotá, Colombia
2019

Aliquam Dolor
Netus Curabitur,
Porta Libero
2022

Euismod Gravida
Egestas Nibh,
Blandit Tellus
2022

Million Art Fair, Mentors Program. Bogotá, Colombia.
2018

Faucibus
Lacinia Convallis,
Duis Quam
2022

LA Gallery. Unfinished Variations. 
Bogotá, Colombia.
2013

Centennial Museum. Objects of Encounter. 
2012

Artistic ResidenciesDesjardin Atelier
Gallery Jano
Montreal, Canada.
2024

Ministry of Culture,
Banff Center.
Banff, Canada.
2015

Ministry of Culture, National Incentives.
Lugar a Dudas.
Cali, Colombia.
2011

Municipal Museum of Fine Arts Juan B Castagnino + MACRO.
Rosario, Argentina. Facilisis: Ultricies Orn
2009

Press
Residency Gallery Jano Lapin 
Four winners of the Desjardin’s artistic residency call at Jano Lapin Gallery
2024

La double peine des artistes immigrants
2023

Fitotopías: lugares de agenciamiento político
2021

Ires y venires. 2022 Casa Republicana, Colección Museos del Banco de la República. Bogotá, Colombia
2020

Justo x Bueno.»ese Dinero es de los Artistas»

ESFERA PUBLICA 
Mde15 2015, Museo de Antioquia. Historias Locales, Prácticas Globales. Medellín,Colombia.    

Mde15 2015, Museo de Antioquia. Historias Locales, Prácticas Globales. Medellín,Colombia.

Tandem. 2014 Galería Magda Bellotti. Madrid, España.

CATALOGO ¿Por qué el Cielo es amarillo? 2012 Beca. Ministerio de Cultura. Pasantías Nacionales. Lugar a Dudas. Cali, Colombia.

Residencia Rosario. 2009 Museo Municipal de Bellas Artes Juan B Castagnino + MACRO. Rosario, Argentina
Education
Rosemount Technology Centre, Computer Graphics. Montreal,
Canada.
2022 - 2023

National University of Colombia, Master's Degree in Visual Arts. Bogotá,Colombia.
2006 - 2008

Jorge Tadeo Lozano University, Bachelor in Fine Arts.
Bogotá, Colombia.
1998 - 2001

TEXTS :

Unfinished Variations

Nature has its own time, one that seems to preserve the proportions of its landscape. It recognizes and embraces not the usual human count of time — which it also contains — but the flow of organic duration. These are times of life, sometimes expanded, sometimes vanishing instantly; times that escape us if we are not willing to pause and follow them, to become part of them.
In her work, Alexandra McCormick gives vivid testimony to this generous relationship she maintains with the possible places of seeing and happening. In each of her projects, she follows the course of the horizon, traversing it as one recognizes oneself, understanding her position as both witness and possessor — as paradoxical as it is powerful. Nothing can truly be possessed, for that is impossible, yet everything is there, right before our eyes, in the traces left by our attempts to feel like owners.

Her pieces are powerful devices of memory and variations of a single desire and concern: the need to record the world and its uses. She not only allows herself to be moved by the vast landscapes she sees but also understands how these, through the turns of human life, have become paperwork of possessions and arrangements.

She uses light as both material and metaphor in her photographs, drawings, and exchange objects; she reveals the poetic value of loss — whether movable or immovable — by renaming objects and installing them in space, thereby transforming our perceptions. Ultimately, she makes us understand that nothing is truly unfinished, for natural life possesses that generative capacity — like her work itself — that does not coincide with the human notion of an ending.

.amz.

Objetos de encuentro Susana Quintero




Last Updated 24.10.31
TERRITORIOS INESTABLES

Installation, variable dimensions
photography, objects, documents, and plants.
2001- 2015


These works arise from the impossibility of taking legal possession of land affected by armed conflict. Useless legal documents are transformed into fertilizer for the cultivation of transportable territories, sown with grass—visitors are invited to take one and send a photo from home. In this way, personal memories activate collective memory, private space is shared and becomes a publicly accessible image, establishing a dialogue about everyday Colombian issues. In the exhibition, Territorios Inestables "Unstable Territory" also includes the moss-covered shoe the artist found in Medellín in 2001, which still remains in Colombia as a gesture of care toward nature. Cultivated, photographed, and drawn ever since, it returns to its place of origin as a sign of optimism or perhaps as a metaphor for a precarious, contingent, and elusive reality. The work invites reflection on fragility, transformation, and shared memory, creating a bridge between the intimate and the collective.

Estas obras surgen de la imposibilidad de tomar posesión legal de una tierra afectada por el conflicto armado. Documentos jurídicos inútiles se transforman en abono para el cultivo de territorios transportables, sembrados con pasto —los visitantes son invitados a llevarse uno y enviar una foto desde casa—. De esta manera, las memorias personales activan la memoria colectiva, el espacio privado se comparte y se vuelve una imagen de acceso público, estableciendo un diálogo sobre asuntos cotidianos colombianos. En la exposición, "Territorio inestable" también incluye el zapato cubierto de musgo que la artista encontró en Medellín en 2001, que aún permanece en Colombia como un gesto de cuidado hacia la naturaleza. Cultivado, fotografiado y dibujado desde entonces, regresa a su lugar de origen como signo de optimismo o quizás como metáfora de una realidad precaria, contingente y escurridiza. La obra invita a reflexionar sobre la fragilidad, la transformación y la memoria compartida, creando un puente entre lo íntimo y lo colectivo.





Video
El territorio con lluvia (The Land in the Rain) 
Video 2013

VIDEO LINK









Object
2013






2010


2012
2014



Photography 100 cms x 70 cms Barita paper.
2010- 2013-2016












Manual para un objeto econtrado
Manual for a Found Object, 2011, printed by Editorial 3 Palitos

VIDEO