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 Ministerio de Cultura de Colombia, 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, Ministerio de Cultura de  Colombia, 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 Exhibitions2026
Y pertenecimanos a nosotras mismas, Biblioteca Luis Angel Arango, Museos y Colecciones del Banco de la Republica,  Bogotá, Colombia.

2025
The Future Holds Something For Us, New York, USA
Inter Medio Exhibit Gallery Jano , Curator Riesbri, Montreal, Canada

2024
Regarde 2024 Curator eunice bélidor Montreal, Canada
ArtBO, ArteVivo, Artesanias de Colombia,  Bogotá, Colombia

2023
ArtBO, Programa Referentes MAP. Bogotá, Colombia
Gilberto Alzate Foundation Encounter: Longings of
Observation and Listening Bogotá, Colombia

2022
Ires y venires, Museos y Colecciones del Banco de la Republica,  Bogotá, Colombia.

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

Rincón Projects, Expanded Territories. Bogotá, Colombia
Elvira Moreno Gallery. In House. Bogotá, Colombia
Casa Cano Gallery. Romance. Bogotá, Colombia

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

2013
LA Gallery. Unfinished Variations. 
Bogotá, Colombia. (Solo)

2012
Museo Centenario de Norte de Santander. Objetos de encuentro. Curator Susana Quintero. Cucuta Colombia (Solo)



Artistic ResidenciesDesjardin Atelier
Gallery Jano
Montreal, Canada.
2024

Ministerio de Cultura Colombia, Grant 
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  ( Watercolor 425 cm x 136 cm) 2024





Photo:Jacques Bellavance.

FATA MORGANA

Photography, 270 cm × 190 cm Regarde 2024, Montreal. 2024




UN MAPA, UNA ATARRALLA, UNA ISLA, UN PEZ Y UN ESPARTILLO Sterling Silver 975, filigree, stamped sheet, espartillo chain. Collaboration, Orfebrería Leanjo Mompox-  Leticia Gutierrez
Program Arte Vivo Colombia. 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. Lightnin. Variable dimensions, 2014









OFICINA DE PATRIMONIO INTANGIBLE Performance 2007
  © amcc  2025
PLIEGUE | PLI | FOLD   (on going)
This series of watercolors folds into small-scale volumes and formats, similar to books. It also unfolds into large pictorial surfaces. I have been creating them in my new place, Montreal.

In this migration, where we fold and unfold ourselves into other territories, in Bogotá — the city where I lived for 43 years of my life — it was the mountain that embraced me. In Montreal, it is the river; it is the water that embraces me in this new land.

These watercolor books begin with photographic records and arrive at watercolor like water itself: something that receives and nourishes this new rooting.


Esta serie de acuarelas se pliega como un volumen de pequeñas dimensiones y formatos, similar a libros. También se despliega como grandes superficies pictóricas. Las he venido realizando en mi nuevo lugar, Montreal.

En esta migración, donde nos plegamos y desplegamos en otros territorios, en Bogotá —la ciudad donde viví 43 años de mi vida— era la montaña la que me abrazaba. En Montreal es el río; es el agua la que me abraza en esta nueva tierra.

Los libros de acuarelas parten de registros fotográficos y llegan a la acuarela como un agua que recibe y alimenta este nuevo enraizamiento.





TURBA. Installation, Watercolor book,  and video projection (loop) , Dimensions: Variable dimensions, ( Watercolor 425 cm x 136 cm) 2024

VIDEO














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








 Magnolia, Watercolor 374 cm x 212 cm. Dimensions: variable.  2026



Equinacea, Watercolor 89.5 cm x 83.4 cm. Dimensions: variable.  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

In this encounter with the landscape of Banff National Park, in Canada, with the Rocky Mountains and the river that borders the town, a silent dialogue was revealed — almost a secret, or an ancient murmur between the stones and the water. That act of letting oneself dissolve, be affected and transformed until becoming a small pebble was the place where I was able to find myself.

This transition from mountain to river implies a different temporality. That is why I took some pebbles, submerged them in watercolor-mixed water in my studio, leaving an imprint on a paper label, and then carried them back to the river so they could continue their process. In the process of a mountain that borders a river until it becomes a small pebble held by that body of water, that imprint gathers the stone's transit and its encounter with the water.


En este encuentro con el paisaje del Parque Nacional Banff, en Canadá, con las montañas Rocosas y el río que bordea el pueblo, se revelaba un diálogo silencioso, casi un secreto o un murmullo antiguo entre las piedras y el agua. Ese dejarse disolver, afectar y transformar hasta convertirse en un pequeño guijarro fue el lugar donde pude encontrarme.

Este tránsito de la montaña al río implica otra temporalidad. Por eso tomé algunos guijarros, los sumergí en agua con acuarela en mi taller, dejando una impronta en una etiqueta de papel, y luego los llevé de vuelta al río para que continuaran su proceso. En el proceso de una montaña que bordea un río hasta convertirse en un pequeño guijarro contenido por ese cuerpo de agua, esa impronta recoge ese tránsito de la piedra y ese encuentro con el agua.









































TERRITORIOS INESTABLES

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


The installation recreates, within an exhibition space, a notary office or a place for carrying out land transactions. It is composed of 144 territories (grass planted on deed papers), a shelving unit, a table with a typewriter, and the deeds of the territories available for exchange. On the walls, photographs of the completed exchanges and the deeds of each exchanged territory are displayed. There are also photographic images of a territory consisting of a shoe with plants that accompanied me for 23 years, along with various records of this territory over time.

The performance involves a transactional exchange between the visitors and myself. The landowners, that is, the members of the audience, must take a territory, give it a name that is registered on the deed, and take both the copy of the deed and the territory with them. Once they feel that the territory has reached its place, they must take a photograph and send it to the email address indicated on the deed. In this way, the exchange becomes part of the project’s archive and is presented in the exhibition and in future ones.

The territories are alive, and through this exchange, participants are invited to imagine, name, remember, and care. The work seeks to activate a sense of care through collective memory and its relationship with the land. The project has been exhibited in different cities, including Cúcuta, Bucaramanga, Bogotá, and Medellín.


La instalación configura, en un espacio expositivo, una notaría o un espacio para realizar transacciones de territorios. Está conformada por 144 territorios (pasto sembrado sobre papel de escrituras), una estantería, una mesa con una máquina de escribir y las escrituras de los territorios por intercambiar. En las paredes se despliegan fotografías de los intercambios realizados y las escrituras de cada uno de los territorios intercambiados. También hay imágenes fotográficas de un territorio que consiste en un zapato con plantas que me acompañó durante 23 años, así como varios registros de este territorio a lo largo del tiempo.

La performance implica un intercambio transaccional entre los visitantes y yo. Los terratenientes, es decir, las personas del público, deben tomar un territorio, darle un nombre que queda registrado en la escritura y llevarse tanto la copia de la escritura como el territorio a su lugar. Cuando consideren que el territorio ha llegado a su sitio, deben tomar una fotografía y enviarla al correo indicado en la escritura. De esta manera, el intercambio entra a formar parte del archivo del proyecto y se muestra en la exposición y en las siguientes.

Los territorios están vivos y, mediante este intercambio, se invita a imaginar, nombrar, recordar y cuidar. Se busca que la memoria colectiva y su relación con la tierra activen ese gesto de cuidado. La obra se ha presentado en diferentes ciudades, entre ellas Cúcuta, Bucaramanga, Bogotá y Medellín.










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

Potenciales evocados 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.


Potenciales evocados declara la naturaleza efímera de la vida. A través de diapositivas, pone de relieve el tiempo en relación con imágenes de luz provenientes de un archivo personal, una historia de vida: dos décadas de viajes y recuerdos personales. Se despliega en las ventanas del espacio, liberando la luz contenida en estas imágenes. El espacio queda entonces iluminado por dos momentos de luz: la atrapada en las diapositivas y la que entra directamente del sol a través de la ventana.

Este es el pabellón San Jorge, dentro del laboratorio del Hospital San Juan de Dios en Bogotá, en una atmósfera creada por vidrieras que se aproxima a lo sagrado. Es esa luz la que envuelve al espectador. Un proyector de diapositivas muestra la escritura a mano de un médico que revela sus viajes, lugares, un inventario de vida que se mezcla entre dibujos, textos científicos y potenciales evocados. El sonido del proyector, a su vez, marca un ritmo vital sobre el espacio, junto a una tabla periódica de otra época, cubierta de polvo.



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