Nayda Collazo-Llorens, born in San Juan, Puerto Rico, is a visual artist engaged in an interdisciplinary practice incorporating multiple mediums and strategies. Through her practice, she examines the way in which we perceive and process information, dealing with concepts of navigation, memory, language, hyperconnectivity and noise. Recent projects include the following solo shows: RE_SIGHTINGS, Urban Institute for Contemporary Arts, Grand Rapids, MI, 2016; Debajo de la casa, El Cuadrado Gris, San Juan, PR, 2016; Frequencies, Krasl Art Center, St. Joseph, MI, 2016; and Dis/connect, LMAKprojects, New York, NY, 2014. Some of her site-specific installations include: Stranger Land, Arcus Center for Social Justice Leadership, Kalamazoo, MI, 2014-16; Pleasure, Fear and the Pursuit of Happiness, Miami Beach Botanical Garden and Bass Museum of Art, Miami Beach, FL, 2013; Revolú*tion, 3rd Poly/Graphic Triennial, San Juan, PR, 2012; and Reverb, Museo Universitario del Chopo, in Mexico City, 2012. Previous projects include a site-specific installation titled Reverberación at the Museum of Contemporary Art in San Juan, PR, 2010; and ESCaperucita & Little Flying Hood, a multi-disciplinary project produced for the 10th Havana Biennial, Havana, Cuba, 2009; and Unfolding the Triangle, a series of site-specific installations of which the first installment was at the Mattress Factory, Pittsburgh, PA, 2009-10. Collazo-Llorens received an MFA from New York University and a BFA from Massachusetts College of Art. She was a Pollock-Krasner Foundation Fellow in 2012, and a Visiting Fellow at the Arcus Center for Social Justice Leadership in 2014. Her work has been reviewed in The New York Times, Art Net, Art US, Art Nexus, Art News, Arte al Día International, BOMBlog, and Newcity, among others. Her work is represented by LMAKgallery, New York.
As an artist, I am engaged in a multi-disciplinary practice through which I examine the way in which we perceive and process information, often dealing with navigation, memory, language, hyperconnectivity and noise. I employ various strategies and approaches to compile marks, images, audio and text, which are often edited, remixed and restructured into what may function as cartographic systems, archives and sensorial spaces, among others. In my non-objective mark-based works, blots and lines are structured into various interconnected systems dealing with concepts of mapping and archiving, where marks amass, connect, collide and repel each other in an organic yet systematized way. My text-based works explore post-alphabetic communication, data overload, noise, and randomness, as systems of information are examined through the use of textual animations, prints and installations. My most recent installations and public interventions have explored “sampling” as a strategy or mode of artistic practice, inviting the viewer to reflect on the complexities of the mind and the fragmented manner in which we perceive our complex world in an age that is as much about data overload and hyper connectivity as it is about distancing and dissociation.