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 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

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



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 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

These watercolors wait folded like a book. A video shows each fragment as the pages turn, like when a story is told to you. Displayed on a horizontal screen on the wall, the video reveals what we don't see when the work is not exhibited.

Pliegue Plie Fold consists of two pieces. When Turba unfolds on the wall, carnivorous plants flooded with light are seen on a scale that overflows the plant itself, in horizontal format. Waterfall embraces the wall, the floor, or whatever surface it finds itself on—like a table—revealing the flow of water or its stagnation through two watercolor poems by Jaspreed Singh, collaborator on the work.

The work expands and contracts like ecosystems breathe, like bodies that need air. In the exhibition space we walk among the two unfolded pieces and their video record, moving through what was, is, and will be.


Estas acuarelas esperan plegadas como un libro. Un video muestra cada fragmento al pasar las hojas, como cuando te cuentan una historia. Dispuesto en una pantalla horizontal sobre la pared, el video revela lo que no vemos cuando la obra no está expuesta.

Pliegue Plie Fold se compone de dos piezas. Al desplegarse Turba en el muro, se ven plantas carnívoras inundadas de luz en una escala que desborda la planta misma, en formato horizontal. Waterfall abraza el muro, el piso o la superficie donde se encuentre —como una mesa—, dejando ver el fluir del agua o su estancamiento a través de dos poemas con acuarela de Jaspreed Singh, colaborador de la obra.

La obra se expande y se contrae como respiran los ecosistemas, como los cuerpos que necesitan aire. En el espacio de exposición caminamos entre las dos piezas desplegadas y su registro en video, transitando lo que fue, es y será.


VIDEO














Waterfall.  Installation. collaboration with Jaspreed Singh (poème) et projection vidéo. Dimensions :  Variable dimensions Watercolor 220 cm x 140 cm x 210 cm. 2025















FATA MORGANA

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

La pieza evoca el encuentro del cielo y la tierra, lo alto y lo bajo, investigando la tensión entre lo que se construye deliberadamente y lo que se refleja espontáneamente. Como un espejismo en una carretera encharcada o una fata morgana en el cielo, genera una fusión intrigante entre realidad e ilusión.




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


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.

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.

These transformations are represented through watercolors made with the concentration of water in the stones I collected from the river. The paintings are organized following an order where the watercolor appears more intense and dense at the beginning, gradually fading and disappearing. This order recalls that of an archive or a collection, while simultaneously evoking the monumentality of the Banff mountains. The work connects the intimate and the monumental, the ephemeral and the enduring, inviting the viewer to experience the continuity of the landscape and the memory contained in each stone.

De la montaña al río se originó a partir de una residencia artística en el Parque Nacional Banff, Canadá, el parque nacional más antiguo del país. La obra explora la relación entre el río y la montaña, destacando la transformación a la vez efímera y constante de las montañas al entrar en contacto con el agua —a diferentes temperaturas— fragmentando gradualmente las rocas hasta que se disuelven en la corriente, transformándose en otras posibilidades.

Estas transformaciones se representan a través de acuarelas realizadas con la concentración de agua en las piedras que recogí en el río. Las pinturas se organizan siguiendo un orden donde la acuarela se muestra más intensa y densa al inicio, hasta desvanecerse y desaparecer gradualmente. Este orden recuerda al de un archivo o una colección, y al mismo tiempo evoca lo monumental de las montañas de Banff. La obra conecta lo íntimo y lo monumental, lo efímero y lo duradero, invitando al espectador a experimentar la continuidad del paisaje y la memoria contenida en cada piedra.









































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




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.

Minuta para un estanque presenta una serie de fragmentos visuales capturados en video a partir de reflejos en el agua. La enumeración y disposición de estas imágenes construyen conjuntamente la noción de un lugar.

La instalación consiste en cinco videos proyectados: algunos directamente sobre la superficie del agua, otros reflejados en las paredes del espacio. Simultáneamente, un hidrógrafo registra la acumulación de humedad en el entorno a través del dibujo, mientras que el sonido repetitivo de una rana genera ondas en el agua, activando su superficie.

Las imágenes revelan detalles fugaces y precisos: el movimiento de los insectos, el lento paso de las nubes, el encuentro entre una araña y una libélula, y múltiples reflejos del paisaje acuático. Las proyecciones se proyectan sobre elementos arquitectónicos específicos —esquinas, bajo escaleras, rincones— donde la imagen se distorsiona y adquiere una forma pictórica que hace eco de su propio reflejo, rompiendo el marco rectangular tradicional del video y abriendo una nueva poética visual.

El sonido de la rana, hecho visible a través de las ondas en el estanque, acompaña las proyecciones, generando una sensación de expansión y continuidad, como si el tiempo y la imagen se prolongaran infinitamente sobre el agua
.

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