For Delcy Morelos colour is not abstract information or an aesthetic ingredient in the making of an art piece. Colour is constructed by race, by culture, by religion; colour is the tone of skin, of soil in each and every place on earth. Sometimes skin and soil resemble one another. As the artist points out, “at times, stripped of the vegetative layer, the landscape looks naked; it shows its colour. In the opulence of tourist locations, it is insistently hidden with gardens and concrete; while the nakedness of the soil is synonymous with modesty, with the poor”. For an installation like Buried Soil, Delcy explores the surroundings looking for the “naked earth” and collects samples. Her intention is to capture and understand the often invisible meanings and relations between the soil and the site, the soil’s texture, colour and fertility. “Soil is the origin, the base, the common ground, the root of our civilization; ancestral and sacred since it is a fundamental principle of our exchanges with the earth,” including material for building our houses, clay for making our pots. In fact, the soil is the skin of the earth.

For the installation at Havremagasinet, the materials used intertwine, cross and mix with the architecture, the space, generating sensations, temperatures, atmospheres, textures, colours, odours, lights, and shadows that mutate throughout the day. In Delcy Morelos’s work, every new space that receives her project also transforms it, a vital part of her creation ritual.

About the artist
Morelos studied at the Cartagena Fine Arts School and has exhibited individually since 1990. She’s received such distinctions as the First Award in the Salon de Arte Joven in Bogota (1994). Among her individual exhibitions are La doble negacion [The double negative], Alonso Garces Gallery, Bogota (2008); Museum of Modern Art Barranquilla (2006); Gt Gallery, Flax Arts Studios Residence Program, Belfast, North Ireland (2006); and Academia Superior de Artes de Bogota, Santa Fe Gallery, Bogota (2004). Some of her group exhibitions include: 7 Mercosul Biennial, Grito e escuta [Shouting and Listening], Porto Alegre, Brazil (2009); MDE 07, Espacios de hospitalidad [Hospitality Spaces], Medell.n (2007); ES2002 Tijuana/II International Biennial, Tijuana Cultural Center CECUT (2002), and the VI Havana Biennial (1997).

Her work explores the origin of violence, social discrimination, and human passions.