top of page

Andrea Bores

Mexico City, 1990

I intuit that the secret of gestation of the mountains is in the rocks and I incite them to reveal their code. The structures of nature and the construction of the landscape encourage my research. I am a graduate and teacher in textile design, with previous studies in mechanical engineering. I explore the possibilities of the pictorial canvas through interventions typical of textile work such as weaving, dyeing processes and embroidery. Engineering directed my desire to understand the universe through possible instructions. I seek to approach veiled spaces with art and dissolve taxonomies.  


I studied a degree in Textile and Fashion Design at the CENTRO de Diseño, Cine y Televisión university (2011-2015) and did previous studies in Mechanical Engineering and Administration at ITESM (2008-2011). In 2020 I exhibited at the Salón ACME fair with the Phenomena Gallery, at the Action Fair with the Cobertizo residence and at the FAMA fair.  


I have done residencies in Cobertizo, Jilotepec (2019) and Casa Wabi, Oaxaca (2018). I was a fellow of the Jóvenes Creadores program of FONCA 2017-2018. In 2021 I presented the individual exhibition Tierra Nacida Sombra at the Museo de la Chancillería and my work has been part of the group exhibitions:Scriptures in present continuous. Maaa Mo Mí Me Muu at the Cabañas Museum (2022); Deposits, Guadalajara 90210 (2022), Sense of Time, Museum of the Foreign Ministry (2021); Panorama, La Nao Gallery (2021); BIOCENO, The Museum of the Foreign Ministry (2020); New Skin for an Old Ceremony, Karen Huber Gallery 2019; Small Flowers Crack Concrete, Oaxaca, 2019; Creation in Motion, 2018; Racks, Mexico 2017; A rose is shaped like a rose. Trades and Instincts II, Mexico, Casa del Lago Juan José Arreola, 2016; among other. 


_MG_2206 copy.jpg
Screen Shot 2022-08-16 at 14.45.22.png

A stain crosses the sky. There are hundreds of birds; they move together, they are a traveling cloud. The track of a rushing storm. They are an opaque lake that spreads out, the reflection of the mountain on which they levitate. They are a landscape, they are thousands of freckles, then they are nothing. At times, they become birds again. The mind travels in the forms and the languages ​​are others. And the stain goes away. The thousands of birds become one by disappearing. A trace remains in the eye, the text that was written in heaven was a poem that is barely deciphered.
The languages ​​of the organic cannot be read with other words. The textures, volumes, densities and stains that permeate our environment are not random: they are guided by the pulsations of chaos, an absurd and logical rule at the same time. The artist Andrea Bores Chemor is a reader of the natural. She precisely understands the grammar of the landscape, the harmonic cadences that build what surrounds us. Her exhibition Tierra Nacida Sombra is a testament to the memory of materials, where Andrea exists as an alchemist capturing a world of moving particles.

Through noble elements such as water, coal and earth, she captures landscapes that play with subjectivity and the adaptation of the eye: an image that is a river, but also a vein, next to a mountain that could also be a rock in a puddle A humidity in an old building that is also the stain on the edge of a pot and the stain on the back of a hand. The repetition of these patterns is what moves Andrea to become a guide to natural behaviors. And that is what makes her so generous in her painting: letting in a second creative will: the natural pulse of the minerals. With this, she becomes an artist who does not submit to nature, but rather presents it from the least obvious places. Through her paintings, Andrea invites fascination with these behaviors that resize the scales of natural patterns. His pieces are landscapes painted with landscape.
The paintings that make up Tierra Nacida Sombra speak with intuition. Squinting your eyes, you see an oil spill that later becomes the dregs after finishing a coffee, or the constellation of lentils that have fallen in a kitchen. It is reminiscent of the plants that float below a juniper and the shapes of those NASA photos, which are so similar to the slopes of a hill dried up by summer. Or the bruise on the battered thigh, which looks like the jam on the morning bread, and intuition does not decide, because it is all at the same time but it is also just a stain, or many, and none. And the stain is lost, and the reading ends, because when memory falls silent, what we were looking at was always, in reality, a painting.

_MG_2211 copy.jpg
WhatsApp Image 2023-06-29 at 4.20.00 PM.jpeg
WhatsApp Image 2023-06-29 at 4.20.25 PM.jpeg
bottom of page