About the Artist:
Tatiana Parcero (b. 1967 Mexico City) earned her Master of Arts in the fields of Art Theory and Photography from New York University and Bachelors Degree in Psychology from Universidad Nacional Autónoma de Mexico (UNAM), Mexico City. Her work has been included in solo and group exhibitions in the USA, Mexico, Spain, France, Argentina, Brazil, Finland, Japan and beyond. Parcero’s work is in such notable permanent collections as the Museum of Fine Arts, Houston; The Museum of Latin American Art, Long Beach; The Lowe Art Museum, Miami; The Museo de Arte Contemporáneo de Castilla y León (MUSAC); Museo de Arte Moderno, Mexico City; Museo de Arte Moderno de Bueos Aires; and Instituto de América Centro Damián Bayón, Granada, among others.
Tatiana Parcero’s work is included in Revolution & Ritual: The Photographs of Sara Castrejón, Graciela Iturbide and Tatiana Parcero, an exhibition curated by Mary MacNaughton for the Ruth Chandler Williamson Gallery’s (Scripps College) contribution to the 2017 Pacific Standard Time.
About the Work:
Tatiana Parcero’s oeuvre explores the body and its implicated connections to identity and the natural world. Parcero juxtaposes the human figure, which in nearly all the work is her own, and found imagery. The work looks beyond the visible exterior, and the layers Parcero exposes are both literal and symbolic; beautiful and charged. She has integrated anatomical drawings, codices, colonial and astrological maps, chemical constructions, and naturalist-style drawings with images of the body.
We find Parcero’s use of the figure with these different elements works to reinforce her visual thesis. Parcero’s work has shown trespasses (Nuevo Mundo with colonial maps and codices, or Universus with visually broken landscapes), but more importantly proves it is we who draw lines of division that incur missteps. In truth, there are no borders, beginnings, or endings, just connections and inclusions. Rather than being redundant, Parcero’s work becomes meditative, reflexive, spiritual, even (Fin y Principio) station-like.
Her visual explorations harmonize and repetition of Parcero’s own figure through different series affirms the singularity and plurality of human the experience- one of many; all are one. The Body has then evolved as universal symbol, unit, or container connected to and composed of everything. We are not above Nature; we are of it and of all things.