Fairy tales and myths are the mirrors for society.


The artist Adriana Duque practices a photographic mannerism that explores staged realities of the social landscape. Her photographic "pictures" are a staging of her own inspiration, whose common denominator lies in the encounters and contrasts between Western high culture and its myths with the spatial and social dystopia of her country. The photographic image of his work refers to painting, theatre, literature and cinema. Through it one perceives the silence of painting, the light of cinema, the immediacy of theatre and the superficiality of the advertising image; they are fictitious performances staged for the camera and later constructed on the computer, creating a claustrophobic and hermetic world of illusion and estrangement.

In this artist's images there is a continuous confrontation between realism and fantasy. They announce that the real can only be captured in its essence through simulation. The idea is the authentic and the image is the fiction. Although it seems to prove otherwise, his work does not have a specific narrative, but develops in a series of suggested actions: more through the implications of the image than through its descriptions. The content of these multiple layers suggests structures of understanding sometimes too bizarre to be real that end up reinforcing the sense of mischief and intrigue they arouse in the viewer. Like the work of other contemporary photographers, the scenes in his work are full of subjective meanings in which every symbol is loaded and every connection is perverse. This emphasis on the psychic role ends up producing the reverse, and the elaborate symbolic structure fatigues coherence and suggests the impossibility or refusal to believe in the organising principles of the characters and the story.


Carlos E. Betancourt


Adriana Duque was born in Manizales in 1968. She studied Plastic Arts at the University of Caldas. Thanks to a scholarship granted by the Colombian government and an award from the French embassy, she moved to Barcelona to begin her specialisation in digital photography and later travelled to Paris to visit the vast collections of classical painting and attend the International Festival of European Photography in Arles, in the south of France.
Since 2001 Adriana Duque's photographic work begins to build, the first images already show her obsession with childhood, childhood as an unfinished phase and permanently possessed by the ambiguous characters of fairy tales and by family elements intimately linked to the rural environment.

With "Goldilocks" (2003), her first work in the series "From Fairy Tale to Fairy Tale", the artist succeeds in creating a multiple, hybrid and disturbing space in which the archetypal characters of the fairy tale (the three bears and the little blonde girl) are re-interpreted. Thus, in her photographic version Adriana Duque composes an instant of "mismatch", an image that at first glance seems to be a colourful family portrait, but which, in the background, subtly addresses the complex issue of social gaps.
From 1998 to date, Adriana Duque has followed a continuous process of creation, in a constant search for visual solutions that always manage to situate reality in a "shifting" and ungraspable terrain.


She currently lives and exhibits in Bogotá.

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