My work is a footprint of the moment I’m living: problems, desires, disenchantments, secrets, hates, vendettas, claims, pleasures, vices, delirium…

This situations that drink from experience are drawn as a revelation of truth without which life wouldn’t be possible.


In the sheets or our sky there are
clouds perfumed with armpits and delicate
remains of love
- Raúl Gómez Jattin

Skins is a project made out of furniture covered by bedsheets that are stained, washed out, corroded and sawn that serve as the base for a series of drawings themed on gay fetishism. In each act, we don’t just see the passing whim of two lovers influenced by a pornographic fashion, no: latex clothing, uniforms, and masks have been carefully thought to modify the identity to assimilate it as a character that is no longer afraid of the ambivalence of sexual roles, allowing the recognition of its own desire outside of any guilt connotation.

Under the influence of this aesthetic and semiology alliance we can also access the sphere of the voyeur, since the importance of every image-fetish lays on its wish to be exhibited, contemplated and surveyed. The essence of the visual exercise promotes feeling exchanges and new notions of sexuality where human is synonymous of plural. Call it LGBTI movement, Queer world, etc, what should be rescued is Arts permanent effort to counteract the old political, religious and social order that define heterosexuality as the only legitimous way to be with the order.

Iván Navarro 2019

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I merely wanted to live and express myself in accord with a way that spontaneously sprung out of me. Why did this prove to be so difficult?
-Demian-Hermann Hesse

Hesses mission was to discover the man behind every event; the flesh - and - blood being shaped and influenced by the chaos of existence.

In accordance with this sentiment, art can be a testament not only to who I was, but who I presently am, my dreams and desires, and what my fears and frustrations are.

As a litmus test of sorts to this statement, I wish for you to experience how I feel about domestic life, love and pleasure. I invite you to partake in some insightful stories that may very well have an influence on your future.

I wish to open up a dialogue about ongoing daily matters, in order to recognize and discover ourselves in the unspoken conflicts and tensions that some might just be discovering for the first time.

Iván Navarro

Galería sketch, Colombia.

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Is a caricature exhibition mocking Colombian art scene and their characters. The exhibition moves between rumor, myth and the huge need to laugh of our selves. The situations presented by Navarro, involve artists, gallerists, art critiques, curators, art teachers, friends, all presented in situations “witnessed” by the artist. Truth, lie, rumor, surprise, bewilderment, mock, cynicism and shamelessness, naivety, indolence, stinginess, jealousy, hypocrisy and anger make part of this exhibition. In this dance we are swinging, in this comedy from which maybe non will be safe, we recognize ourselves. In this dream of reason, Navarro takes a witness position, that actively engages in his social reality, and makes it with humor even making fun of himself, his truths and his lies.

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The desire to look at others intimacy, as the desire of others to make it public is the origin of this series of drawing. Navarro assumes a voyeur position, on one side stablishing an omnipresent gaze that registers the sexual act and decides to depict it and on the other side as an interpreter of a shared image while transforming it into a drawing.

In the creation of this series, the artist takes aesthetic decisions as the use of high contrast over a red background, emulating the forbidden, grotesque, S&M and gore. In the same manner, it feeds from porno, appropriating framing, planes and lighting, natural to this language that serve to highlight certain things in the drawing, tension points, focus, which fall upon objects, costume or bodies to extract the essence of the sexual act in a single photogram.

Ricardo Moreno 2016

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as if he was a draftsman of spoken portraits, Navarro transforms oral narrative into drawing and presents what can’t be documented since it exists only in memory, or as the title implies, “delirium”, a hallucination that inhabits others mind. In this manner, the collection of lunacy here exhibited, shows the scandalous, weird, odd, tragic, and funny standing on the subjective, on mere illusion.

This way, these insane illustrations, created with discipline and care in the manner of hieratic and simplified characters of the antique medieval iconography (maybe that’s why they hit so hard); question the veracity of any document and ethics of journalists and historians (we already know that the official history is told by the winners, news are built by the owners of media and delirium is known only by the delusional). Therefore, this project is in itself pure madness. As a broken phone game starting from a senseless sound. As it frees from any commitment with “real” it gets strong as a drawing, as a representation. Its like a dream, absurd, disturbing, subjective and touching.

Humberto Junca Casas 2015

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Problems are like stones, wishes like smoke (or, like little fishes in a fish tank). I mean, one could learn how to walk over them, the first constitute a reality that can be heavy, lacerating, crushing and permanent, meanwhile wishes have an intangible illusion and the beauty of a breath. Now, as a problem might become, by not having a reachable solution, into an intense wish of it solving itself, in the same way a big or unreachable wish, as a crush not shared by both, with time can turn into a serious problem. As it is well known, a problem brings other problems. Meanwhile some get solved and others accomplished, at least they are drawn. A big gesture of love.

Julien Petit 2012

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Identities on the run is a project in progress, since 2006 till today it has been compiling 215 portraits drawn by various members of the draftsmen corporation of las nieves neighborhood (Corporación de Dibujantes del Barrio las Nieves) in Bogota. Each one of the portraits has the particular characteristics of being left behind or abandoned by the persons portrayed. Because of this the images are edited in the bottom part with a date that specifies the cataloged disappearance with the month and year.

Since this edition is not providing the names (forgotten by the passing of time) anonymity constitutes guideline that questions the identity of the portrayed. This is made with the only aim of recreate a space of encounters where the individual might recognize himself or others, rescuing the portrayed persons from anonymity.

Finally, the divulgation of the project is set as a search strategy looking for the people that one day took the decision of not claiming their portrait, and as a space to reflect that leaves an open question around future disappearances, manifested by the presence of the draftsmen that are present, drawing portraits, in real time.
Jesús Evelio casas, Fabio Kanizales, Elkin Gómez, Claudia Kanizales, Roguer Velásquez, Norberto López, Elver Linares, Cesar Silva, Miguel Cañón y Ronal Herrera.

Iván Navarro. 2008

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The city is a total, but each of its boroughs is singular, the history that formed them and the social classes that inhabits them gives them their own unique characteristics. Never the less, there is a distance between the neighborhood and its community because of the lack of compromise with it, that allows it to be miss treated in various cases. Countering this detachment, recovering its landscape, and above all its sense of place, is also recovering not entirely lost habits. Within this context Pollen Rain aims to rebuild the previously abandoned and deteriorated gardens to reconcile with two of its main aspects, its capability of wandering and contemplation.

Iván Navarro 2012

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An Eye for and Eye is conceived as an effort to catalogue and record the experience of revenge, taking into account the settings, objects, characters and personal motivations that come together into its execution. In that way, far from simply conducting us to a nostalgic reflection about intolerance, the drawings are charged with the key function of keeping a memory alive, so that we can accept diversity and recognize what remains imprinted in the executioners consciousness

Iván Navarro 2013

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This specific project allows itself ugliness and malice, since one must be truly passionate to rejoice in its own bad blood (needle) to make such a vast collection of ugly people one encounters in life. Pointing with a finger the tortuous lack of sex appeal, and later drawing with a pencil each wrinkle, twisted nose, cross-eyed, mole, jib, unproportioned ears and nose. The author uses the memory of this anonymous persons he crosses daily to make an atlas which basic cartographic objective is repulsion towards the other.

Never the less, even if the premise of archiving ugly people in a book seems to us as politically and morally incorrect, it can be humble in a certain way, since its not only a classification exercise but also a remembrance, almost a homage. Each of the drawings is made with careful attention on detail, on each particularity that’s makes each ugly unrepeatable, like snowflakes. The flaws, asymmetry, disproportion and rareness are characteristics not only of ugliness but of individuality, and if one is not alien to the history of thought, will know that through centuries great people have found beauty in that which they consider unrepeatable. Don’t you fall in the trap of quickly judging this as a bully book, nothing tells us that the author is not ugly as well, or maybe that he like ugly people, or maybe even attracted to them.

William Contreras Alfonso 2014

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"Sólo nos ama aquel con quien podemos mostrarnos débiles sin provocar la fuerza"

The love we seek is more inspired on the missing half than in passion? Yes, the absence of reciprocity distance us, and we can wait no longer for an unshared love. As with friends, we long for having similar feelings or, at least, without excessive dissonance. Considering this Project as a service for that search, “tragas”, through the revealing quality of drawing, offers to portray the persons we secretly love. That way, each of the forty drawings that build up this work are independent, but linked, beyond its argumentative line, by a setting based on grouping persons which share mutual feelings.

Finally, this set up invites us to participate as agents with the task of collectively build our encounters and reconciliate with the ideal image that inhabits our consciousness since childhood with which we keep a permanent dialog: the love confrontation.

Iván Navarro 2014

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