Carlos Jacanamijoy

Llama

carlosjacadminmm — Wed, 15 Jul 2026 14:01:09 +0000

The work evokes the will-o’-the-wisp (fuego fatuo) that, according to tradition, springs forth every Good Friday from indigenous guacas or burial sites.

Algarabía y silencio interior

carlosjacadminmm — Wed, 15 Jul 2026 13:48:17 +0000

In Los estallidos de la selva (The Outbursts of the Jungle), the master wrote:

«One of my best memories of that place is the sunrises, because upon waking in the early morning, everything would burst forth; first, the cacophony of the birds—one could imagine, through their tones, an entire variety of shapes, colors, and sizes; then, if I wanted, I would sharpen my attention to the murmur of the great waterfall in the distance, and also to the large, mighty river, or to the nearby stream with its waterfall where we used to bathe, or perhaps to a gentle breeze that would open the eyes of the child I was and reveal to me the light of the new day.» (Carlos Jacanamijoy, Los estallidos de la selva, Revista Volar, Bogotá, April-June 2012, p. 23.)

Objetos que deslumbran

carlosjacadminmm — Wed, 15 Jul 2026 13:43:15 +0000

The work is a tribute by the painter to the domestic inventions that the countryman adapts from nature. Among them, the bow, the wheel, the bowl, the pitchfork, the fang necklaces, and shamanic instruments such as the huairahuahua (child of the wind) and the huairachinga (a bundle of dry leaves for cleansing) stand out.

Aparece

carlosjacadminmm — Wed, 15 Jul 2026 13:40:38 +0000

The work represents what a young Carlos Jacanamijoy imagined a shaman, like his father, saw—a theme foreign to first-world art. In the scene, schematic rhombuses suggest instruments, while the red line draws a bowl with lunar ends.

El Otro

carlosjacadminmm — Wed, 15 Jul 2026 13:39:42 +0000

This autobiographical triptych evokes the segregation the painter suffered at the hands of immigration authorities in London. In the work, blood flows like a torrent of seeds, connecting trauma with origin and destination. On the left, an ashen waterfall refers to his birth and atavistic Incan customs; on the right, two skulls on shamanic chairs represent the human being stripped of identity and history.

In the end, the contingencies of life—such as the one experienced at the London airport—in the long run fragile, will give rise to the emergence of different men and women, free from the prejudices that have historically led to racial segregation.

Aún no ha dejado de palpitar

carlosjacadminmm — Fri, 10 Jul 2026 15:45:53 +0000

This first important painting by Jacanamijoy celebrates the resilience and continuity of indigenous creativity, using the silhouette of a sebucán—a traditional utensil for processing cassava—as a symbol of unity that transcends ethnic borders. Through this proposal of affirmation and vitality, the painter honors his people’s ancestral culture from his own perspective, opening a path of cultural pride that dispenses with traditional pre-Columbian iconography and folkloric anecdote.

Tokyo

carlosjacadminmm — Thu, 02 Jul 2026 14:37:53 +0000

Paris

carlosjacadminmm — Thu, 02 Jul 2026 14:37:14 +0000

New York

carlosjacadminmm — Thu, 02 Jul 2026 14:36:14 +0000

Ibiza

carlosjacadminmm — Thu, 02 Jul 2026 14:11:48 +0000