Live / Archive
Introduction
A Day’s Cadence makes audible the silence that follows in the wake of a catastrophe, a solemnity that points as much towards modes of resilience and adaptation as it does to the crushing devastation of loss. This theme takes shape through Berrío’s narration of a small fishing village that has undergone a tragedy.
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Works
07 María Berrío Baz, 2020
Collage with Japanese paper and watercolour paint on canvas 76.2 x 61.0 x 3.8
cm
30 x 24.1 x 1.5
in
MBE65
María Berrío Before the Days Have Left Their Mark, 2020
Collage with Japanese paper and watercolour paint on canvas 50.8 x 40.6 x 3.8
cm
20 x 16 x 1.5
in
MBE70
María Berrío Interior of a Moment, 2020
Collage with Japanese paper and watercolour paint on canvas 50.8 x 40.6 x 3.8
cm
20 x 16 x 1.5
in
MBE69
María Berrío Malady of the Infinite, 2020
Collage with Japanese paper and watercolour paint on canvas 50.8 x 40.6 x 3.8
cm
20 x 16 x 1.5
in
MBE62
María Berrío The Combed Thunderclap, 2020
Based in Brooklyn, María Berrío grew up in Colombia. Her works, which are meticulously crafted from layers of Japanese paper, reflect on cross-cultural connections and global migration seen through the prism of her own history. ‘The title of The Combed Thunderclap comes from Borges’ short story The Library of Babel. It depicts a girl who seems utterly absorbed by the intricate mysteries of her palm. Behind her stands a cropped figure, grooming the girl’s hair. The girl is a tangle of knees and nerves, a creature not far from entering adolescence but already a roiling force. She is a complete entity unto herself, focused only on the charged ions of her own being. She is unpredictable and prone to outbursts, a force to be reckoned with. And yet in this image we find the girl in a temporary state of calm, a thunderclap in a brief moment of repose.’
Collage with Japanese paper and watercolour paint on canvas 76.2 x 61.0 x 3.8
cm
30 x 24.1 x 1.5
in
MBE63
María Berrío The Spike of the Crocus, 2020
Collage with Japanese paper and watercolour paint on canvas 50.8 x 40.6 x 3.8
cm
20 x 16 x 1.5
in
MBE61
María Berrío Under a Cold Sun, 2020
Collage with Japanese paper and watercolour paint on canvas 76.2 x 61.0 x 3.8
cm
30 x 24.1 x 1.5
in
MBE64
María Berrío
María Berrío is celebrated for works that draw on aspects of mythology and folklore to create narratives that address contemporary issues of identity, agency and survival. Her large-scale works, which are meticulously crafted from watercolour paint and layers of Japanese paper, reflect on cross-cultural connections and global migration seen through the prism of her own history. Populated principally by women and children, Berrío’s art often appears to propose spaces of refuge or safety, kaleidoscopic utopias which have been inspired in part by South American folklore, where humans and nature coexist in harmony. To these apparently idealised scenes, however, Berrío brings to light the hard realities of present-day politics.
Archetypal themes of the search or quest, along with the rituals and symbolism of the mask, often envelop Berrío’s works. However, her imagery always comes first, with aspects of character and narrative tension built through composition and the choreography of space.
About the artist
María Berrío was born in Bogotá, Colombia in 1982. She completed her BFA at Parsons School of Design in 2004, and her MFA at the New York School of Visual Arts.
Major solo exhibitions include María Berrío: The Children's Crusade, ICA Boston, USA (2023); María Berrío: Esperando mientras la noche florece (Waiting for the Night to Bloom), The Norton Museum of Art, West Palm Beach, Florida, USA (2021).
Institutional group exhibitions include Forbidden Territories: 100 Years of Surreal Landscapes, The Hepworth Wakefield, Wakefield, UK (2024–25); Shifting Landscapes, Whitney Museum of American Art, New York, USA (2024–26); Spirit in the Land, Nasher Museum of Art at Duke University, Durham, North Carolina, USA (2023), travelling to Pérez Art Museum, Miami, USA (2024) and Cummer Museum of Art & Gardens, Jacksonville, USA (2024–25); Women Painting Women, The Modern, Fort Worth, Texas, USA (2022); A Natural Turn, The DePaul Art Museum, Chicago, USA (2022); Born in Flames: Feminist Futures, Bronx Museum of the Arts, New York, USA (2021); Labor: Motherhood & Art in 2020, University Art Museum at New Mexico State University, Las Cruces, USA (2020); Present Tense: Recent Gifts of Contemporary Art, Philadelphia Museum of Art, Pennsylvania, USA (2019); People Get Ready at Nasher Museum of Art, Durham, North Carolina, USA (2018); Prospect.4 Triennial, New Orleans, USA (2017–18), Art on Paper Biennial, Weatherspoon Museum, Greensboro, North Carolina, USA (2017), CUT N MIX, El Museo del Barrio, New York, NY, USA (2015).
Berrío's work is in permanent collections including the Albertina, Wien, Austria; Brooklyn Museum, New York, USA; Crystal Bridges Museum of American Art, Bentonville, AR, USA; Dallas Museum of Art, USA; Ford Foundation Center for Social Justice, New York, USA; Hirshhorn Museum and Sculpture Garden, Washington DC, USA; Institute of Contemporary Art (ICA), Boston and Miami, USA; Los Angeles County Museum of Art (LACMA), USA; The Metropolitan Museum of Art, New York, USA; Museum of Contemporary Art Chicago, USA; Nasher Museum of Art at Duke University, Durham, USA; Pennsylvania Academy of the Fine Arts, Philadelphia, USA; Pérez Art Museum, Miami, Florida, USA; Philadelphia Museum of Art, Pennsylvania, USA; Speed Art Museum, Louisville, USA; Weatherspoon Museum of Art at the University of North Carolina, Greensboro, USA; Whitney Museum of American Art, New York, USA; Yuz Museum, Shanghai, China.
Additionally, her work can also be seen in the public realm at the N subway stop at Fort Hamilton, Brooklyn, where 14 of the artist's works have been translated in mosaic using a variety of media including glass, ceramic and enamel.
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