Patricia Esquivia’s work evolves around building stories based on actual anecdotes. Departing from her research of apparently banal information she establishes a series of links between the elements that crop up along her investigation which, in turn, allow the construction of a richer narrative that gradually becomes a new set of anecdotes or information.

In this case, departing from a residence of the artist in a farm in Quindío, Colombia, in the occasion of an early walk around the village she took notice of the decorative footpaths and the cement floors of some venues. Her fascination took her to lead an investigation about Pre-Columbian art represented on the floors of the area, finally contacting with the work of architect and graphic designer Dicken Castro from Antioquia.

As usual in her latest exhibitions, Esquivias combines her work with the other authors not only as a stand against the concept of authorship but also, to acknowledge the task and the enrichment resulting from a shared discourse. Hers is a different way of analyzing the world around, hinting there is a very worthwhile presence behind everything she seeks or investigates.