This exhibition marks Santiago Díaz Escamilla’s first solo show at Casas Riegner. His practice, grounded in drawing, installation, and moving image, has been built around persistent questions: When does something truly end, if it ever does? How might certain presences continue acting in other forms, bodies, or places?

The exhibition emerges from an intimate event: the death of the orange tree that lived for years in the courtyard of the artist’s childhood home. Rather than approaching this as an ending, Díaz Escamilla transforms it into an exploration of continuities and translations. Through paintings, sculptures, textile fragments, and gestures flowing across different media, the exhibition proposes a suspended journey, a space where figure and shadow, memory and present, origin and drift become porous. In this territory, experience operates as a passage: a resonance that moves from one place to another, constantly reconfiguring itself.

Santiago Díaz Escamilla (Bogotá, 1991) is a visual artist whose practice moves between sculpture, drawing, video, photography, and writing. His work has been shown at institutions and events in Colombia, Germany, Brazil, Spain, Mexico, and Finland. These include Ser dejar estar (with Liliana Sánchez), Casas Riegner, Bogotá (2020); Nervio (with Liliana Sánchez), Casas Riegner, Bogotá (2022); and La buena vida. Obras de la colección del Banco de la República. MAMM. Bogotá, Colombia (2024). He has received distinctions such as the VI Sara Modiano Prize (2018), the LABVERDE Grant (Manaus, 2018), and the CONSCAR Tutor Grant from Flora ars + natura (2017), and was selected by Joan Jonas for the annual workshop of the Botín Foundation in Spain (2016).