Karian Amaya's artistic pursuit (Chihuahua, 1986) focuses on the intricate interconnections among formal elements, human-induced landscape alteration, and the consequent social and territorial ramifications affecting local populations. "Reflejos de la Tierra" marks the debut exhibition of this Mexican artist in Guatemala, presenting a diverse selection of recent works stemming from her exploration of natural and industrial materials, always questioning and addressing their vernacular and conceptual meanings. This heterogeneous, yet cohesive glyptotheque serves as evidence of her ongoing research into the dynamic interaction between artistic expression, environmental modification, and societal dialogue.

The exhibition is characterized by a rigorous, almost scientific, approach to analysing the formal properties of the materials employed. The pieces, crafted in both countries, combine black marbles from Querétaro and Monterrey with greens, beiges, and whites from Guatemala. The artist's distinctive style, which associates copper with veins of various marbles and other stones (some in their raw state or with minimal treatment), invites us to a deep exploration of their extraction, production, and commercialization cycles. The selection of materials dates to key formative experiences, notably her immersive encounters with the marble quarries of the Ojinaga region, located in her native Chihuahua. These fundamental experiences not only provided her with first-hand understanding of the geological richness of the area but also instilled in her a profound appreciation for the intrinsic qualities and potential artistic significance of various raw materials. Such encounters served as catalysts for her artistic exploration, inspiring her to enquire into the inherent geological, cultural, and historical dimensions.

This approach is rooted in a historical-artistic heritage tied to postminimalism and land art. Amaya does not seek to exploit the artistic refinement of the materials, as might be done in an almost Renaissance context. Her treatment and arrangement evoke a series of ruins, raw vestiges emerging from the fragmentation of the landscape from which they were extracted. To achieve this, she always uses discarded cut-offs for commercial use. This deliberate orchestration aims to cultivate a dynamic dialogue that encourages more responsible practices towards our environment.

Mining exploitation in its various forms and its constant and irreversible consequences on landscape transformation, as well as its effects on the communities residing in these areas, continue to be recurrent themes in Amaya's work. Drawing from her early experiences, the artist witnessed these natural and social phenomena in relation to open-pit copper mines in the Samalayuca region in Chihuahua. However, it is essential to recognise her capacity to initiate a critical dialogue on the social and human repercussions of landscape manipulation in series such as ""Tierra desnuda" or "Cuerpo Mineral".

Mexico holds the title of the world's largest silver producer and ranks among the countries with the highest extraction of gold, copper, and zinc. Most mining companies are owned by Canadian or US American companies, and their extraction processes often irreversibly alter ecosystems through deforestation, loss of wildlife, and water pollution. Furthermore, open-pit mining leaves permanent scars on the landscape, generating vast expanses of barren land that require extensive efforts for recovery. Its implications in Guatemala are not minor, affecting not only habitats but also disrupting the way of life and sacred sites of various indigenous peoples, resulting in social conflicts that often lead to phenomena such as forced migration or even disappearance. Thus, Amaya demonstrates that landscape alteration entails a social transformation of the communities near these mines.

At the core of the thematic discourse of the exhibition lies the interaction between objects and space. Using meticulous arrangement techniques and the implementation of subtle yet significant interventions, "Reflejos de la Tierra" skilfully fosters interactions between objects and spectators, thereby promoting a critical engagement with her work. This aesthetic and conceptual choice reflects her interest in provoking deeper reflections on the relationship between humans and their environment, as well as on the processes of transformation and destruction that characterize our relationship with nature.

Curator: Alberto Ríos de la Rosa

Photography: José Oquendo