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 Lapin 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



Last Updated 24.10.31


RELÁMPAGO PERMANENTE In-situ instalation
Permanent 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.


Relampago permanente es una instalación que consiste en un rayo de luz construido con un tubo de neón, instalado en la copa de un árbol. La pieza hace referencia al fenómeno natural del Relámpago del Catatumbo, ubicado en la región fronteriza entre Colombia y Venezuela: un territorio complejo, atravesado por tensiones históricas, desplazamientos y múltiples capas de memoria.

En este paisaje, conocido por sus tormentas eléctricas casi continuas, el cielo se ilumina de manera intermitente sobre una vegetación vasta y densa. La obra traslada ese fenómeno natural al espacio expositivo, recreando un relámpago artificial que transforma el árbol en un cuerpo iluminado.

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 —elemento natural cargado de historia y arraigo— se convierte en soporte de una energía suspendida. La iluminación no solo interviene el paisaje, sino que alude a historias personales y colectivas que atraviesan la frontera: desplazamientos, pertenencias fragmentadas y narrativas invisibilizadas.

En esta propuesta, la luz funciona como lenguaje visual: una metáfora de lo que en el territorio se revela y se oculta simultáneamente.




REÁMPAGO Photography
Permanent Lightning
Variable dimensions
2014

 LIGHTNIN 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