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Santiago Díaz Escamilla

Santiago Díaz Escamilla

1992, Bogotá

Santiago Díaz Escamilla's (Bogotá, 1992) practice explores the limits of our capacity to make sense of experience, embracing uncertainty as a space for thought and speculation. Through drawing, watercolor, sculpture, video, photography, and writing, he creates situations that approach nature as something that both constitutes and exceeds us, where multiple scales, temporalities, and modes of perception converge. His work has been presented at institutions including the Museum of Modern Art of Bogotá (MAMBO), the Miguel Urrutia Art Museum (MAMU), the Museum of Modern Art of Medellín (MAMM), Kunstnernes Hus (Oslo), and Casas Riegner, among other venues in Colombia and internationally. He earned a Master of Fine Arts from the Oslo National Academy of the Arts, KHiO (Oslo, Norway). He holds a Bachelor’s Degree in Visual Arts (Maestro en Artes Visuales) from Pontificia Universidad Javeriana (Bogotá, Colombia) and completed Escuela FLORA, the independent studies program of FLORA ars+natura (Bogotá). He has received distinctions including the FKDS Atelierstipend (2024–2025), the SKS Diversestipend (2024), the VI Sara Modiano Prize for the Arts (2018), and the LABVERDE Fellowship (2018). His work is part of the Banco de la República Art Collection in Bogotá.

How might we relate to the forces we are entangled with without seeking to contain them? Can we trace the path of a single grain of sand carried by the wind at this very moment? What does it mean to think from that which we do not know what it is? To understand is always to leave something out.

Drawing, watercolor, sculpture, video, photography, and writing come together to create situations and environments that approach nature as something that both constitutes and exceeds us. Within them, the familiar and the immeasurable coexist across intersecting temporalities, scales, geographies, and materials, between presence and absence. Group readings and collaborations transform the work into a form of shared inquiry, making space for slowness, ambiguity, and opacity.