Ana Adarve received her BFA from the National University of Colombia in 2000. For the past seven years, she has been developing photographic images based on her experience with urban environments, pointing out social tensions. Before the completion of her undergraduate program she was able to show her work in important local galleries. Currently, she has gained credibility in the artistic arena and has participated in several exhibitions in Colombia and abroad, obtaining significant awards. Specifically, she has had two solo shows in Bogotá and has participated in “Chicago 2001” (USA, 2001), MACO (Mexico, 2004) and PHE02 and PHE05 (Spain, 2002 and 2005),
Some of Adarve’s work belongs to important private and public collections such as the BBVA Art Collection in Colombia. Her work has been published in specialized literature like the recently published “Latin American Photography: 1991 – 2002” by the Spanish author Alejandro Castellote. Simultaneously she has been working in the academic field, teaching photography at University level.
Adarve obtained a Fulbright Fellowship in 2005 to carry out her graduate studies in the United States and she is currently an MFA candidate at the San Francisco Art Institute.
Living in Bogotá, a large Latin American capital for more than 25 years has been crucial to the development of my work. I realized that any city is an organic system where inhabitants and physical space are interdependent yet both determine and shape the other’s identity. Observing and participating in the dynamics of this system led me to the examination of certain urban and social phenomena found in human interactions mediated by indifference, fear and silence. These constraints are a response to the particular political situation in Colombia that sustains a predominantly violent and unstable environment.
Because of photography’s problematic relation with reality, I find it to be the ideal means to signal everyday aspects that are usually neglected and edited from our collective image of the city. In particular, digital photomontage permits me to create tensions by assembling elements from different contexts. In the very first stage of the work I act more as a pedestrian than as a conventional photographer since I move through the space capturing a sequence of images. These photographs are the raw material that I use to create an image containing time with the appearance of a panoramic snapshot. The final images are presented in a large format that pushes the viewer to walk along the work while scrutinizing the details.
Currently, living in the United States has given me a new perspective. My work seems to be transcending the personal and local experience to grasp more global issues. The Disruption Series, that takes place in Miami gated communities, examines collective traumas where a ubiquitous enemy challenges the conventional defense strategies. It is a reflection on how we are all taking part in a symbolic war where the most lethal weapon is the suspicion that the normal course of life could be disrupted by anyone, at anytime. In the Container Series, which is in progress, I pretend to present the functioning of the international trade system by presenting wealthy accommodation literally supported by cargo ship containers. Is inequality a necessary foundation to support the global structure?