Fernanda Téllez is a young artist from Querétaro. During her residency at lagos, she expanded her pictorial practice and consolidated a line of research she had been developing for over a year and a half. Her focus on flow patterns (configurations or forms in which fluids move through space) culminated in a visual inquiry that explores connections between digital and corporeal technologies through the gestural language of painting.

Using contemporary strategies, the artist combines and overlays different techniques. Drawing from her background in architecture, she begins the work with digital records: global elevation maps that reveal water flows, and luminous maps that trace the urban imprint of Mexico City. These form a foundation that she then intervenes with photographic records captured in the streets—cables, pedestrian crossings, posts, and trees. After this initial digital phase, the images are printed and transferred onto canvas.

Once this layering of technologies is fixed on the stretcher, she begins the oil painting process—emphasizing and highlighting elements in a kind of visual transdimension, oscillating between bird’s-eye and top-down perspectives. Soft brushstrokes shape contours and figures through shadow, color, and painterly materiality.

Fernanda, interested in processes of becoming, questions the sustainability of life and the future of the human species on Earth amid the devastation we’ve produced. She proposes a hybridization and merging of realities—between organic matter and the human footprint—to declare that we are one single living organism. Her work gestures toward ideas ranging from Gaia Theory to the philosophical proposal in Metamorphosis by Emmanuelle Coccia:

“Technology must become a spiritual relationship with the world.”

olgaMargarita dávila
Chief curator

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