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

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

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

Turba is a 425 × 136 cm watercolor installation conceived as an expanded book. Its foldable structure—also activated through video—proposes a continuous movement between opening and folding, exposure and concealment.

The image of a carnivorous plant, enlarged until it becomes territory, functions as a figure of migration and adaptation within a specific ecosystem. Peat—decomposing organic matter that enables new forms of life—operates as a structural model: a ground where accumulation, moisture, and transformation sustain an always unstable equilibrium.

Through the gesture of folding and unfolding, the work embodies processes of migration, displacement, and reconfiguration. Life and death do not appear as opposites, but as part of the same vital cycle where fragility is a condition of persistence. Rather than representing a landscape, Turba activates a territory in transit.


Turba es una instalación en acuarela de 425 × 136 cm concebida como libro expandido. Su estructura plegable —activada también mediante video— propone un movimiento continuo entre apertura y repliegue, exposición y ocultamiento.

La imagen de una planta carnívora, ampliada hasta convertirse en territorio, funciona como figura de migración y adaptación dentro de un ecosistema específico. La turba —materia orgánica en descomposición que posibilita nuevas formas de vida— opera como modelo estructural: un suelo donde acumulación, humedad y transformación sostienen un equilibrio siempre inestable.

A través del gesto de plegar y desplegar, la obra encarna procesos de migración, desplazamiento y reconfiguración. Vida y muerte no aparecen como opuestos, sino como parte de un mismo ciclo vital donde la fragilidad es condición de persistencia. Más que representar un paisaje, Turba activa un territorio en tránsito.


VIDEO






















Rivus es un libro-pintura en acuarela de 360 × 220 cm que se despliega verticalmente, uniendo arriba y abajo en un mismo cauce visual. La imagen inicia en la parte superior con un reflejo donde se reconocen una planta y árboles; a medida que desciende, la figuración se disuelve en movimiento, remolinos y acumulaciones que sedimentan como piedra.

La obra es una experimentación con el agua como materia activa. Gotas que atraviesan el papel, veladuras que se expanden y corrientes que desbordan construyen la imagen en colaboración con su propia fuerza. 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. En el contexto del desplazamiento entre territorios, el agua se vuelve interlocutora y guía: una presencia con la que se aprende a fluir, a adaptarse y a reconfigurarse. Más que representar un paisaje, Rivus encarna el tránsito como proceso vital continuo.


Rivus is a 360 × 220 cm watercolor book-painting that unfolds vertically, joining above and below in a single visual channel. The image begins at the top with a reflection where a plant and trees can be recognized; as it descends, figuration dissolves into movement, swirls, and accumulations that sediment like stone.

The work is an experimentation with water as active matter. Drops that traverse the paper, washes that expand, and currents that overflow construct the image in collaboration with their own force. Fragments of poems by Jaspreet Singh about the movement of water are integrated into the flow: the letters shift and participate in the same system of circulation.

The river appears as an archetypal figure of migration and transformation. In the context of displacement between territories, water becomes interlocutor and guide: a presence with which one learns to flow, to adapt, and to reconfigure oneself. Rather than representing a landscape, Rivus embodies transit as a continuous vital process.




Rivus . Installation. Collaboration with Jaspreet Singh (poem) and video projection. Dimensions: variable. Watercolor 220 cm x 140 cm x 210 cm. 2025