TAXONOMY
OF MEMORY

Angie Rangel, who begins her path in art through painting, integrates it into her daily life, studies it, and approaches its enigmas in order to crystallize, through it, the moments that have marked her process as an artist and as a woman who has traveled through different places, among them her city of origin, Barranquilla. Thus, in her proposal we see a mixture of dreams and realities that highlight the architectures and ornaments of her former homes, evoking life alongside her grandmother, her childhood, the warm climate, and that Macondo-like atmosphere that merges with a new way of life through art, where unsettling pieces appear that evoke Jeff Koons or Botero, hinting at her arrival in the city of Medellín. It is precisely this that conjures the encounters that run through her life and her work, and that, like a "diary," she records in words on the back of her paintings, so that each experience remains contained in both text and image, fulfilling the full sense of evocation.

There is also, in her work, a special fondness for paintings of women. Another latent encounter with her femininity, with her ideals and with other women, where she explores with them her delight in clothing, attire, and the fusion between painting and fashion, reminding us of the exuberant stage costumes portrayed by painters of past centuries, dressing them in garments full of flowers, textures, ruffles, and, once again, memories. These encounters are the meaning of this exhibition, and they are the becoming of her life as an artist and as a woman in a city that inspires movement, femininity, and art.