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


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