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.

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Awards and Recognitions:  She was nominated for the Sara Mondiano Prize in 2013 and awarded second place at the Salón de Arte Joven del Nogal. In 2008, she received an honorable mention in the Master’s Program in Visual Arts at the Universidad Nacional de Colombia for her thesis Oficina de Patrimonio Intangible. In 2005, she was awarded third place in the IV Salón de Fotografía El Municipal, and in 2003, she obtained first place in a competition organized by the Instituto Distrital de Cultura y Turismo in Bogotá. Between 1998 and 2002, she received an academic excellence scholarship at the Universidad Jorge Tadeo Lozano.

She has participated in major exhibitions, including MDE15: Historias Locales, Prácticas Globales at Museo de Antioquia in Medellín (2015). She has also undertaken several international artist residencies, including Galería Jano in Montreal (2024), Banff Centre for Arts and Creativity (2015, supported by the Colombian Ministry of Culture), Lugar a Dudas in Cali (2011, Ministry of Culture grant), and Museo MACRO and Museo Castagnino in Rosario, Argentina (2009).


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

Regarde 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


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

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

LA Gallery. Unfinished Variations. 
Bogotá, Colombia.
2013

Centennial Museum. Objetos de encuentro.
2012


Artistic ResidenciesDesjardin Atelier
Gallery Jano
Montreal, Canada.
2024

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

Ministry of Culture, National Incentives.Grant
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.
   

Tandem. 2014 Galería Magda Bellotti. Madrid, España.

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

Residencia Rosario. 2009 Museo Municipal de Bellas Artes Juan B Castagnino + MACRO. Rosario, Argentina pag.54


Education
Rosemount Technology Centre, Computer Graphics. Montreal,
Canada.
2022 - 2023

Universidad Nacional  de Colombia, Master's Degree in Visual Arts. Bogotá,Colombia.
2006 - 2008

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


TEXTS :

Texto de Angelica María Zorrilla para la exposición Variaciones Inconclusas en La Galería 2013.
  

Texto de Susana Quintero para la exposición Objetos de encuentro en casa  Museo Norte de Santander 2012.

Texto Ximena Gama para la exposición Incidentes: celebraciones de lo inesperado
 
IMAGINARIOS, Edición no 106 | El espectador. Cultura.  enero 19 de 2018 por Érica Martínez Cuervo.

Last Updated 24.10.31
Selected work


PLIEGUE |PLI | FOLD    
TURBA. Installation, Watercolor book,  and video projection (loop) , Dimensions: Variable dimensions, ( Watercolor 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 PERMANENTE In-situ installation.
Lightning
Variable dimensions,
2014









OFICINA DE PATRIMONIO INTANGIBLE Performance
2007

  © amcc  2025
PLIEGUE | PLI | FOLD    
TURBA. Installation, Watercolor book,  and video projection (loop) , Dimensions: Variable dimensions, ( Watercolor 425 cm x 136 cm) 2024

Turba es una instalación de acuarela de 425 × 136 cm concebida como un libro expandido. La imagen de una planta carnívora, ampliada hasta convertirse en territorio, funciona como figura de migración y adaptación dentro de un ecosistema específico. A través del gesto de plegar y desplegar — activado también mediante video — la obra encarna procesos de desplazamiento y reconfiguración donde la vida y la muerte no aparecen como opuestos, sino como parte de un mismo ciclo vital en el que la fragilidad es una condición de la persistencia.

Turba
is a 425 × 136 cm watercolor installation conceived as an expanded book. The image of a carnivorous plant, enlarged until it becomes territory, functions as a figure of migration and adaptation within a specific ecosystem. Through the gesture of folding and unfolding — also activated through video — the work embodies processes of displacement and reconfiguration where life and death appear not as opposites, but as part of the same vital cycle in which fragility is a condition of persistence..


VIDEO






















Reading Water es un libro-pintura en acuarela de 360 × 220 cm que se despliega verticalmente, desde un reflejo donde se reconocen plantas y árboles hasta una figuración que se disuelve en remolinos y sedimentos. El agua es materia activa: gotas, veladuras y corrientes construyen la imagen en colaboración con su propia fuerza, mientras fragmentos de poemas de Jaspreet Singh sobre el movimiento del agua se integran al flujo — las letras se desplazan y participan del mismo sistema de circulación. El río aparece como figura arquetípica de migración y transformación: una presencia con la que se aprende a fluir, a adaptarse y a reconfigurarse..

Reading Water is a 360 × 220 cm watercolor book-painting that unfolds vertically, moving from a reflection where plants and trees are recognizable down to a figuration that dissolves into currents and sediment. Water is an active material: drops, glazes, and streams build the image in collaboration with their own force, while fragments of Jaspreet Singh's poems about the movement of water integrate into the flow — letters drift and participate in the same system of circulation. The river appears as an archetypal figure of migration and transformation: a presence through which one learns to flow, to adapt, and to reconfigure.




 Writing water, watercolor, Jaspreet Singh (poem) and video projection. Dimensions: variable. Watercolor 374 cm x 212 cm. 2026












FATA MORGANA

Photography, 270 cm × 190 cm Regarde 2024, Montreal Photo credit: Jacques Bellavance
    

Two puddles meet, and in their reflection, sky and earth bend; fragments of landscape that converse, suspended between illusion and reality.

Dos charcos se encuentran, y en su reflejo el cielo y la tierra se doblan; fragmentos de paisaje que dialogan, suspendidos entre ilusión y realidad.

CATALOG




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


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

De la montaña al río surgió de una residencia artística en el Parque Nacional Banff, Canadá. Recogí piedras del río, las bañé en acuarela y las devolví a la corriente — guardando en el papel la memoria de ese encuentro. Las acuarelas se organizan en un orden que va de lo más denso e intenso hasta lo que se desvanece y desaparece, como las rocas que el agua fragmenta gradualmente hasta disolver. La obra conecta lo íntimo y lo monumental, lo efímero y lo duradero.


From the Mountain to the River originated during an artist residency at Banff National Park, Canada. I collected stones from the river, bathed them in watercolor, and returned them to the current — preserving on paper the memory of that encounter. The watercolors are arranged in a sequence moving from dense and intense to fading and disappearing, mirroring the way water gradually fragments rock until it dissolves. The work connects the intimate and the monumental, the ephemeral and the enduring.








































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



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

Extension de terreno que se ve desde un sitio ¨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.

Extensión de terreno que se ve desde un sitio. Este título es una de las definiciones comunes de la palabra "Paisaje". Inspirada en una antigua descripción de un lugar en el Catatumbo encontrada en una escritura de terreno, creé dibujos usando tinta invisible. Jugando con la luz, el público y sus sombras, se revela una tierra invisible.







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




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, lived as home. On one side, Leticia Gutiérrez Veleño (Orfebrería Leanjo) and her family, bearers of a profound legacy of inherited craft and Momposino materiality in goldsmithing; on the other, the island I inhabit.

Este proyecto surgió de una conversación tejida a través de la distancia entre dos lugares: Montreal y Mompox. Ambos son islas, rodeadas por aguas de río, vividas como hogar. De un lado, Leticia Gutiérrez Veleño (Orfebrería Leanjo) y su familia, portadores de un profundo legado de oficio heredado y materialidad momposina en orfebrería; del otro, la isla que habito.

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

Minuta para un estanque a Pond presenta una serie de fragmentos visuales captados en video a partir de reflejos sobre el agua — imágenes efímeras y precisas: el movimiento de insectos, el lento paso de las nubes, el encuentro entre una araña y una libélula. La instalación consiste en cinco videos proyectados sobre la superficie del agua y las paredes del espacio, mientras un hidrógrafo registra la acumulación de humedad en el ambiente y el sonido repetitivo de una rana genera ondas que activan la superficie. Las proyecciones se despliegan sobre elementos arquitectónicos particulares — rincones, bajo escaleras, recovecos — donde la imagen se distorsiona y se convierte en forma pictórica, rompiendo el marco rectangular tradicional del video..

Minuta para un estanque presents a series of visual fragments captured on video from reflections on the water — fleeting and precise images: the movement of insects, the slow passage of clouds, a confrontation between a spider and a dragonfly. The installation consists of five videos projected onto the water's surface and the walls of the space, while a hydrograph records the accumulation of moisture in the environment and the repetitive sound of a frog generates ripples that activate the surface. The projections are cast onto particular architectural elements — corners, under staircases, nooks — where the image distorts and becomes a painterly form, breaking the traditional rectangular frame of the video.

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 PERMANENTE In-situ instalation
Relámpago Permanente
240 cm
2014

Relámpago permanente es una instalación compuesta por un tubo de neón instalado en la copa de un árbol, que recrea el fenómeno natural del Relámpago del Catatumbo — un territorio fronterizo entre Colombia y Venezuela marcado por tormentas eléctricas casi continuas, desplazamientos y múltiples capas de memoria. La luz opera como metáfora de revelación: así como el relámpago ilumina momentáneamente la oscuridad del paisaje, la instalación activa una reflexión sobre aquello que emerge y aquello que permanece oculto dentro de un territorio. El árbol iluminado se convierte en soporte de historias personales y colectivas que atraviesan la frontera.

Relámpago permanente is an installation consisting of a neon tube mounted in the crown of a tree, recreating the natural phenomenon of the Catatumbo Lightning — a border territory between Colombia and Venezuela marked by near-continuous electrical storms, displacement, and multiple layers of memory. Light operates as a metaphor for revelation: just as lightning momentarily illuminates the darkness of the landscape, the installation invites reflection on what emerges and what remains hidden within a territory. The illuminated tree becomes a vessel for personal and collective histories that cross the border.




RELÁMPAGO Photography
Relámpago  
2014


Relámpago is a series of photographs taken by three people at different moments: a family archive belonging to Acacia, my grandmother's neighbor, whose photographs I documented from the front and back; and photographs commissioned to a librarian who knew the place. The light passing through these documents reveals fragments of a single landscape: that of the COLPET oil camp, built in the early 20th century in the Catatumbo region, where extractive dynamics intensified violence and the displacement of the Barí indigenous community. Today, those stories continue to emerge on the surface of the landscape.

Relámpago is a series of photographs taken by three people at different moments: a family archive belonging to Acacia, my grandmother's neighbor, whose photographs I documented from the front and back; and photographs commissioned to a librarian who knew the place. The light passing through these documents reveals fragments of a single landscape: that of the COLPET oil camp, built in the early 20th century in the Catatumbo region, where extractive dynamics intensified violence and the displacement of the Barí indigenous community. Today, those stories continue to emerge on the surface of the landscape.











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

Geografías invisibles explora aquellas dimensiones del paisaje que no siempre son visibles a primera vista: memorias ocultas, transformaciones silenciosas, huellas intangibles que solo emergen cuando se observan de cerca los pliegues del tiempo y la materia. A través de mapas, fotografías aéreas e imágenes de un mismo lugar en diferentes momentos, la obra revela un paisaje que nunca permanece idéntico a sí mismo — que se deshilacha, se corroe y se renueva. Son geografías que no aparecen en los mapas convencionales pero constituyen la esencia vital de lo que habitamos y de lo que somos.

Invisible Geographies explores those dimensions of landscape that are not always visible at first glance: hidden memories, silent transformations, intangible traces that only emerge when one observes closely the folds of time and matter. Through maps, aerial photographs, and images of the same place at different moments, the work reveals a landscape that never remains identical to itself — one that unravels, corrodes, and renews. These are geographies that do not appear on conventional maps but constitute the vital essence of what we inhabit and of what we are.

Exhibition Text