Interview: Maria Clemencia Arbeláez
Luca Curci talks with Maria Clemencia Arbeláez during CONTEMPORARY VENICE 2026, at Palazzo Albrizzi-Capello.

“Through my series Naturaleza Íntima, I investigate how proximity alters meaning. By isolating fragments of nature and emphasizing form, texture, and light, I invite the viewer to slow down and engage in a quieter, more introspective way of seeing. What may appear ordinary at first glance reveals unexpected structures and emotional resonances when observed closely. My background in construction architecture has deeply influenced my artistic approach, shaping disciplined attention to structure, balance, and spatial relationships. This technical foundation allows me to construct images with precision, while photography becomes the medium through which intuition and sensitivity emerge. Rather than documenting nature, my work seeks to reinterpret it. The images are not representations of landscapes, but visual experiences that blur the boundaries between the organic and the abstract, the visible and the imagined. Each photograph becomes an invitation to pause, reflect, and reconnect with the act of observation itself.”

Luca Curci – What is art for you?
Maria Clemencia Arbeláez – For me, art is the creation of works capable of generating emotions and sensations in the viewer. Art is something that remains in the mind, invites reflection, and in some way transforms the way we perceive life. Through my work, I seek to encourage the observer to pause, to contemplate, and to discover within everyday objects and nature what often goes unnoticed. I aim to create a space for attention and awareness, where looking becomes a conscious and meaningful act.

LC – What’s your background? What experience influenced your work the most?
MCA – My professional training in photography in Colombia, together with my background in architecture, has been fundamental in shaping the way I see and work with images. However, the experience that has most influenced my artistic practice is not linked to a specific moment, but to a gradual shift in how I observe. Over time, I realized that my interest was not in documenting reality in a literal way, but in slowing down, isolating fragments, and observing more attentively. Architecture taught me to think in terms of structure, balance, and precision, and when I transferred that way of thinking into photography, my work began to transform. This intersection between a structured way of seeing and a more sensitive approach continues to define my artistic practice today.

LC – Where do you find your inspiration?
MCA – My main source of inspiration is nature and light. In the relationship between the two, I find an endless territory of exploration, where textures, colors, and forms often move toward abstraction. I am interested in slowing down and observing elements that may seem simple at first glance, revealing patterns and structures that usually go unnoticed.

LC – Did your style change over the years?
MCA – Yes, my style has changed significantly over time. I began with landscape, night, and travel photography, but gradually realized that my interest was not in the overall view, but in details and fragments. This shift led me toward a more intentional and reflective way of seeing, where light, texture, color, and abstraction became central elements of my work.

LC – How do you feel when you see your work completed?
MCA – When I see my work completed, I feel calm and fulfilled, with the sense of having found what I was searching for. It motivates me to share the work and invite others to slow down and discover the beauty that exists in what is small and often invisible.

LC – What do you think about the concept of this exhibition?
MCA – The concept of the exhibition felt very close to me, especially in its reflection on the relationship between human beings, identity, and space. My work engages with this idea from an intimate scale, reaffirming that space can exist within a detail, a texture, or a form that invites introspection.

LC – Was the artwork created specifically for this exhibition?
MCA – The artwork presented is part of an ongoing project. It is an open and evolving research, where each image becomes a fragment within a broader exploration.

LC – Did you enjoy cooperating with us?y for this exhibition?
MCA – Very much. Collaborating with ITS LIQUID was a positive and professional experience from start to finish. I felt supported throughout the entire process, with clear communication and careful attention at every stage. I particularly appreciated the openness of the team and the way they facilitate opportunities for artists to present their work in an international context. Being part of a platform that encourages artistic exchange beyond national borders was both meaningful and enriching for my practice.

LC – What do you think about ITSLIQUID Platform?
MCA – I see ITS LIQUID as a dynamic international platform that creates meaningful spaces for visibility, dialogue, and exchange within contemporary art. Beyond exhibitions, it functions as a network that connects artists with diverse audiences, curators, and cultural contexts. I value its focus on circulation and accessibility, allowing artworks to travel, engage with different perspectives, and become part of broader cultural conversations, particularly within the European art scene.