Current Exhibition
Cristina Velásquez, Soportes
Closes Saturday, October 3, 2026
Gallery Hours
Saturday September 12, 11am-3pm
Saturday September 19, 11am-3pm
Saturday September 26, 11am-3pm
Friday October 2, 6-9pm — First Friday Reception
Saturday October 3, 11am-3pm — Last Look
Cristina Velásquez (b. Colombia) is a photographic artist and publisher based between Austin and Bogotá. She holds an MFA in Advanced Photographic Studies from the joint Bard College and International Center of Photography (ICP) program (2017). Her work has been exhibited at the Musée de l’Elysée, the ICP Museum, ArtBo, MoMA PS1, and the Houston Center for Photography, among others, and is held in private and public collections. Her photobooks are included in the permanent collections of The Met, the Getty Research Institute, the Whitney Museum of American Art, the Guggenheim Museum, MoMA, and the School of the Art Institute of Chicago, among others. Her latest monograph, Somos Animales Poéticos, was recently featured in the New York Times.
Velásquez’s practice has been recognized with the Michael P. Smith Fund (2026), the Interlude Artist Sustaining Grant (2026), the Lucie Scholarship Prize (2025), a Yaddo Residency (2025), the Dust Collective Prize (2025), the ReGeneration4 Prize at the Musée de l’Elysée (2020), the Carol Crow Fellowship (2019), and a Light Work Artist-in-Residence (2019). She is the co-founder and editor-in-chief of New Poetics Publishing, an independent press that collaborates with emerging artists on contemporary and experimental approaches to photography in book form. She also serves as art director for Paisajes Coloniales. She is represented by Assembly Gallery.
Soportes
So as not to die / Para no morir
A support is not merely the material that holds an image: it is the structure that holds us in the face of loss. In this body of work, photography inhabits both paper and fabric, transforming each substrate into a site of containment, index, and resistance. Here, the artist studies how memory and image translate through movement and material.
Through chiaroscuro, shadow ceases to be an absence and becomes the medium that reveals the light. Photographed bodies—in direct conversation with these physical substrates—become the primary support carrying the weight of memory.
To remember my grandmother, to honor the bodies that preceded us, is an act of sustaining. Printing onto the weave of cloth and the fiber of paper is an attempt to construct a physical network so memory does not unravel; a material, intimate gesture to hold onto presence.
