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 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








Last Updated 24.10.31
Selected work


PLIEGUE |PLI | FOLD    
Installation, Watercolor-book and video projection (loop) on table, Dimensions: 5 m x 5 m (425 cm x 136 cm) 2024





 1.Photo:Jacques Bellavance.


FATA MORGANA

Photography : 270 cm x 150 cm
2024




UN MAPA, UNA ATARRALLA, UNA ISLA, UN PEZ Y UN ESPARTILLO Collaboration, Leticia Gutierrez, Sterling Silver 975, filigree, stamped sheet, espartillo chain. 
2024








DE LA MONTAÑA AL RIO
Installation
Variable dimensions: two modules, 213 cm x 103 cm each, photographs, and video projection on water.
2018





TERRITORIOS INESTABLES

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






EXTENSION DE TERRENO QUE SE VE DESDE UN SITIO  
Installation, variable dimensions: four tables, 8 drawings in invisible ink, light sensor, UV light.
2012






MINUTA PARA UN ESTANQUE 
Installation, variable dimensions
Projections on water and sound.
2014





POTENCIALES EVOCADOS
In-situ installation.
Variable dimensions,
“San Juan de Dios Hospital”
2014






RELÁMPAGO
In-situ installation.
Lightning
Variable dimensions,
2014









OFICINA DE PATRIMONIO INTANGIBLE Performance
2007



  © amcc  2025
PLIEGUE | PLI | FOLD    
TURBA. Installation, Watercolor and video projection (loop) on table, Dimensions: 5 m x 5 m (425 cm x 136 cm) 2024

A landscape scaled in space unfolds like an open book: water, its essence, flows beneath the peat, filtering, storing, and protecting the surface. The watercolor narrates a scene of carnivorous plants within an intimate, humid territory, where each fold and page allows viewers to traverse the painted area and carry its landscape. The work connects expansion and contraction, matter and flow, inviting the viewer to follow the path of water and inhabit an ecosystem contained in paper, light, and movement.









Collaboration Jaspreet Singh Poem, Reading Water, Watercolor, 50 cm x 70 cm,  2025



 












FATA MORGANA

Print: 270 cm x 150 cm, 2024

Fata Morgana emerged from an artistic residency in Banff National Park. The term refers to mirages visible in the sky—images that reflect a landscape onto a distant puddle on the horizon. The work explores the construction and representation of landscape, with a mountain peak as its central element, framed by pine trees and the sky above the water’s surface. The photograph captures the reflection of a puddle on the ground, projecting what lies above onto the horizon, creating a vertical, contemplative composition.

The piece evokes the meeting of heaven and earth, high and low, investigating the tension between what is deliberately constructed and what is spontaneously reflected. Like a mirage on a puddled road or a fata Morgana in the sky, it generates an intriguing fusion of reality and illusion.




1.Photo:Jacques Bellavance.
2. Digital drawing on watercolor paper, 2024


UN MAPA, UNA ATARRALLA, UNA ISLA, UN PEZ Y UN ESPARTILLO Sterling Silver 975, filigree, stamped sheet, espartillo chain 2024

A Map, a Fishing Net, an Island, a Fish, and an Espartillo
This project emerged from a conversation woven across distance between two places: Montreal and Mompox. Both are islands, surrounded by river waters, experienced as home. On one side, Leticia Gutiérrez Veleño (Orfebreria Leanjo), and her family, carrying a profound legacy of inherited craft and Momposino materiality in goldsmithing; on the other, my own island, which has become my home where I put down roots.
DE LA MONTAÑA AL RIO
Installation
Variable dimensions: two modules, 213 cm x 103 cm each, photographs, and video projection on water.
2018

From the Mountain to the River originated from an artistic residency at Banff National Park, Canada, the oldest national park in the country. The work explores the relationship between the river and the mountain, highlighting the ephemeral yet constant transformation of the mountains as they come into contact with water—at different temperatures—gradually breaking down the rocks until they dissolve into the current, transforming into other possibilities.






































TERRITORIOS INESTABLES

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


These works stem from the artist’s inability to take legal possession of a land affected by armed conflict. She therefore uses useless legal documents as fertilizer for the cultivation of transportable territories—visitors are welcome to take one—so that their own memories activate collective memory around these issues. “Unstable Territory”, the moss-covered shoe she found in Medellín in 2001, which she has cultivated, photographed, and drawn ever since, returns to its place of origin as an optimistic sign, or perhaps as a metaphor for the precarious, contingent, and elusive reality it represents.





El territorio con lluvia, Video 2013
VIDEO LINK



Video
The Land in the Rain
 Variable dimensions
2007




Installation
Untitled
Object
2013







2010


2012
2014



Installation, variable dimensions
Photography 100 cms x 70 cms Barita paper.
2010- 2013-2016




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






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

VIDEO



EXTENSION DE TERRENO QUE SE VE DESDE UN SITIO  
Installation, variable dimensions: four tables, 8 drawings in invisible ink, light sensor, UV light.
2012

All the visible features of an area of land, This title is a common definition of the word “Landscape”. Inspired by an old description of a place in the Catatumbo found in a land deed, I created drawings using invisible ink. Playing with light, the audience, and their shadows an invisible land is revealed.







Installation, variable dimensions: four tables, 8 drawings in invisible ink, light sensor, UV light.
2012




MINUTA PARA UN ESTANQUE 
Installation, variable dimensions
Projections on water and sound.
2014

Minute for a Pond presents a series of visual fragments captured on video from reflections on the water. The enumeration and arrangement of these images together construct the notion of a place.


The installation consists of five videos projected—some directly onto the water’s surface, others reflected onto the walls of the space. Simultaneously, a hydrograph records the accumulation of moisture in the environment through drawing, while the repetitive sound of a frog creates ripples on the water, activating its surface.


The images reveal fleeting and precise details: the movement of insects, the slow passage of clouds, a confrontation between a spider and a dragonfly, and multiple reflections of the aquatic landscape. The projections are cast onto particular architectural elements—corners, under staircases, nooks—where the image distorts and becomes a painterly form that echoes its own reflection, breaking the traditional rectangular frame of the video and opening up a new visual poetics.


The frog’s sound, made visible through the pond’s ripples, accompanies the projections, generating a sensation of expansion and continuity, as if time and image were infinitely prolonged upon the water.

VIDEO 


POTENCIALES EVOCADOS
In-situ installation.
Variable dimensions,
“San Juan de Dios Hospital”
2014


Evoked Potentials declares the ephemeral nature of life. It highlights, through slides, time in relation to light images from a personal archive, a life story; two decades of travel and personal memories. It unfolds in the windows of the space, releasing the light contained in these images. The space is then illuminated with two moments of light: the one trapped in the slides and the one directly from the sun entering
through the window. This is the San Jorge pavilion, inside the laboratory at San Juan de Dios Hospital in Bogotá, in an atmosphere created by stained glass that approaches the sacred. It is this light that envelops the viewer. A slide projector displays the handwriting of a doctor revealing his travels, places, an inventory of life that blends among drawings, scientific texts, and evoked potentials. Similarly, the sound of the projector marks a rhythmic, vital sound over the space and a periodic table from another era, dust-laden.



RELÁMPAGO .
In-situ instalation
Lightning
Variable dimensions
2014

The piece consists of a ray of light created with a neon tube, installed in the crown of a tree. It points to a natural phenomenon in the landscape: the Catatumbo Lightning, located in the border region between Colombia and Venezuela—a territory with many layers, where the scenery is partially illuminated among its vast vegetation.

Light is presented as a metaphor for revelation. Historically, this region is renowned for its electrical storms, which illuminate the sky with continuous flashes. In this work, the tree is illuminated, but so too are my own story and the stories of many people who inhabit the border.

In this proposal, light becomes a visual language—a metaphor that expresses what, in the landscape, is simultaneously revealed and concealed.





REÁMPAGO PERMANENTEPhotography
Permanent Lightning
Variable dimensions
2014

PERMANENT LIGHTNING is a series of photographs taken by three people at different moments. I am interested in the light in this encounter with the photographic document and with an oil camp built at the beginning of the 20th century in Norte de Santander: COLPET.
The work shapes the notion of landscape through fragments of a single place, fragments of stories that make it up, where extractive dynamics generated problems in various spheres: social, political, territorial, and environmental, increasing violence and the displacement of the Barí indigenous community.
Today, these stories continue to emerge on the surface of the Catatumbo landscape.










GEOGRAFÍAS INVISIBLES Found objects in the field, exposed to rain and sun, photographs printed on metal, laser drawings, and assemblage.
2019

Historically, the construction of landscape has been shaped by multiple disciplines, forms of knowledge, and perspectives. Landscape is not a fixed entity: it is a construction in constant transformation, the result of layers of memory, material records, and shared experiences.

An archive composed of maps, aerial photographs, images of the same place at different moments, and fragments of objects in continuous mutation forms a fabric that reveals change. The gaze of others—their traces and their narratives—also weave into this texture.

Landscape thus appears as something that never remains identical to itself: it unravels, shifts, crumbles, corrodes, and renews. It is a process of ongoing metamorphosis that reflects, in its becoming, the very condition of human life and existence.

Invisible Geographies refers precisely to those dimensions of the landscape that are not always visible at first glance: hidden memories, silent transformations, intangible traces that cross territories and only emerge when one observes closely the folds of time and matter. These are geographies that do not appear on conventional maps but are interwoven with materials and with the landscape itself, constituting the vital essence of what we inhabit and of what we are.

Exhibition Text