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 Pilar Uribe was born in Cucuta, Columbia and immigrated to the US in 1971 as her father, a pathologist, came to work with the electronic microscope at the VA Hospital in Houston. Impacted by the photographic process of his biopsy studies of blood cells, tumors and skin, Uribe went on to study photography at the University of Houston.

Uribe’s recent exhibitions include M. David & Co. in Brooklyn, NY, Borders Gallery, Brooklyn, NY, and at the Silos, Houston.  

For the Into the Woods exhibition, micro images of flowers and distant landscapes are her connection to internalizing and processing through the chaos of everyday culture, to bring her focus. Influenced by her late Great Uncle Ramírez Villamizar’s constant reflections led him to believe that human beings -and Colombians in particular- are in need of rationality and order. Thus, he created his work hoping to help overcome humanity’s shortcomings: “I don’t want to show the world’s existing violence in my work. It’s bitter and bloody. I prefer to show artworks that appease us, and make us feel rational and superior… My works are an example of order in the midst of chaos, they build our spirit and make us crave intelligence when ignorance surrounds us. We live among overwhelming misfortune, and my work seeks, above all, to lighten the convulsions of our time.”

Into the Woods is an art installation inspired by the 1987 musical by Stephen Sondheim. In it, familiar storybook characters wind their way into a mysterious forest where they confront a dangerous giant and come face to face with the metaphorical giants in their own lives. One can see, through the course of the play and installation, that humans make mistakes, and mistakes are an integral part of our existence. In the end, we learn. As excerpted from the song “No one is alone”: “…hard to see the light now, just don’t let it go…things will come out right now, we can make it so…” The world can be frightening and dangerous. It is also miraculous and filled with hope. 

In my artwork, I explore a diverse range of techniques that allow me to create layered, tactile, and visually dynamic pieces. These include:

Cyanotype: Through the use of light-sensitive chemicals and exposure to UV light, I create striking blue-toned prints, often experimenting with organic materials like flowers or leaves to achieve unique and detailed patterns.

Encaustic Mono Prints: I use molten wax to create one-of-a-kind prints, capturing intricate textures and subtle tonal shifts. This technique allows me to work with the fluidity of wax while retaining its rich, translucent qualities.

Paper and Encaustic: Combining traditional paper techniques with encaustic painting, I bring a tactile, layered quality to my work, creating a contrast between the smoothness of the paper and the textured depth of wax.

Flower Drawings: I incorporate botanical elements with mixed media into my work by sketching delicate and expressive flower drawings, using them as both a motif and a way to connect with nature's forms.

Photo Encaustic: This technique involves embedding photographs into layers of encaustic wax, preserving the images while allowing for interaction between the photograph and the wax surface, creating an ethereal, archival effect.

Cold Wax: Working with cold wax medium, I explore the subtleties of layering, scraping, and revealing textures beneath the surface, allowing for rich depth and dimensionality in my paintings.

Tufted Rugs: I hand-tuft rugs with a focus on texture and design, adding a new dimension to my practice by blending textile techniques with my established aesthetic.

Encaustic Bowls: I craft sculptural bowls using encaustic methods, combining the fluidity and stability of wax to form functional pieces with an artistic edge.

Each of these techniques brings a distinct element to my work, allowing me to express my creative visin through both traditional and experimental processes.