Laura Marin Soto's (Bogotá, 1990) practice seeks to incorporate the biographical imprint of her diasporic being, utilizing fragmented memories and experiences between Colombia, the United States, and Mexico. She invents unnatural encounters or participations between disparate elements.
In her works, she combines biological and geological forms, complicating the clear distinction between flora, fauna, and landscape. Color serves as a delirium, a vehicle to engender the dissolution of the fixed, appropriating, in a kind of reverse assimilation—against the Western masculinist paradigm—what is devalued as tropical-feminine kitsch.
