Sergio Suárez (b.1995, Mexico City, Mexico) is a Mexican-born, Atlanta-based visual artist and printmaker. His work explores how materiality and semiotics influence notions of the body, metaphysics, and various cosmologies. He graduated from the Ernest G. Welch School of Art and Design in 2021 with a BFA in Drawing, Painting, and Printmaking. His work has been shown across the United States and internationally, in spaces like Patel Brown (Toronto & Montreal, Canada), Sargent’s Daughters (New York City, New York), Fundación Casa Wabi Sabino (Mexico City, Mexico), Pale Fire Projects (Vancouver, Canada), KDR Gallery (Miami, FL), Johnson Lowe Gallery (Atlanta, GA), Whitespace Gallery (Atlanta, GA), the Consulate General of Mexico (Atlanta, GA), the Atlanta Contemporary (Atlanta, GA), Woolwich Contemporary Print Fair (London, UK), the Haugesund International Relief Festival (Haugesund, Norway), OPED Space (Tokyo, Japan) and the Ionian Arts Center (Kefallinia, Greece); where he was an artist in residency in 2017 and 2018. Suárez has also been an artist-in-residence at Skowhegan School of Painting & Sculpture (Madison, ME), Bemis Center Residency (Omaha, NE), MASS MoCA (North Adams, MA), Penland Residency (Penland, NC), Bed-Stuy Art Residency (Brooklyn, NY) amongst others.His work has been reviewed by the Financial Times, Artillery, Burnaway, ART PAPERS, and has been featured in the #166 Issue of New American Paintings. His work is included in collections such as the Perez Family Collection (El espacio 23) (Miami FL), The Zuckerman Museum (Kennesaw, GA) and the MoCA GA (Atlanta, GA). He lives and works in Atlanta GA.
Artist Statement
My work consists of woodblock carving, ceramics, and installation. Employing past and present codes of visual representation, such as theological painting, pre-Columbian material culture, and contemporary telescope imagery, my practice constructs a visual language concerned with syncretism, porosity, and the influence of time and distance over notions of material, historical, and metaphysical shared realities. The work oscillates between the sacred and the corporeal, between ancestral gestures and the contemporary gaze.
The center of my practice comprises of large-scale woodcuts that operate as both devotional iconography and astral schematics; they are thresholds to cosmologies sedimented in strata of cosmic memory. Processions of entities populate the tableaus, engaging in illegible liturgies that remind us all narrative constructions are provisional, yet we continuously transmute turmoil into a narrative we are able to inhabit.
Ceramics and installation exist in a poetic language that examines the relationship between the container and the contained, operating as both language and architecture. Vessels reference burial sites, diagrams of a collapsing star, or shapeshifting bodies of water.
Meditating on the filtration, preservation, and organization of memory, while suspicious of narratives that frame time and entropy as destructive forces against alternative cosmologies, the work proposes an ontology of the residual. It understands the past not as origin but as an active geological layer where time does not only dissolve but also solidifies the beginning of something new: a cosmo-vision where the present is a surface on which entities float, emerge, sink, and possess a buoyancy linked to our attention and care.
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