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Sonnia Yepez, 1992
Buga, Colombia


The objects devoid of affection, and the short glances that neglect them make the artist interested in making a permanent appraisal of their physic and symbolic status. She looks for dissolved encounters between the poetic and the quotidian; divesting objects of their formal and linguistic function to give them a language that is born from the parallelism among the word, the matter, and the object. 
The artist proposes a semantic game among objects, actions, and perceptions. under an illusory panoramic, the word aspires to become a thing, the reality is present as a tactile vertigo, and the actions are deprived of sense. the process condenses the questioning of the use of each material; in it the artist reiterates the substrate: brick as glass; ceramic as steel; salt as gold; light as paraffin; and sound as social bond. By pointing out the anthropological aspects that surround the objects’ attention, the artist proposes visual speeches based on the manipulation, intervention, and composition of themselves. this transgression conserves each element’s identity and confirms, in this sense, that the existence of such things is only relevant when they are observed. 

Solo shows
· coraza, universidad de los andes. bogotá, colombia.
· no todos los amores de platón fueron imposibles, museo la tertulia. cali, Colombia.

Group exhibitions
· 44 salón nacional de artistas. pereira, colombia.
· imagen regional 9 - andina y orinoquía, centro cultural banco de la república. bucaramanga, colombia
· premio III salón de arte joven, fundación gilberto alzate avendaño. bogotá, colombia.
· historia natural de las imágenes o de la transfiguración. museo de arte de la universidad nacional de colombia, bogotá
· 16 salón regional de artistas centro occidente. la condición de estar aquí. museo de arte de pereira, colombia.
· encontrando el dorado. museo de arte contemporáneo, bogotá, colombia.

Public collections
· Museum of Modern Art La Tertulia Cali (COL)

· Museum of Modern Art Cartagena (COL)

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