CAMILO PARRA: THE ANATOMY OF TRANSFORMATION

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Transformation and integration are key to understanding Camilo Parra’s practice. Whether it’s a questioning of origins, a critique of contemporary societal behaviours, or a latent curiosity to unfold and refold the layers of scientific and biological exploration, all these threads converge in Parra’s work. Like distinct ingredients poured into a rich, nourishing, and substantial soup, they come together to form a cohesive and thought-provoking whole.

Having had the opportunity to work with and exhibit Camilo’s work in Primordial Soups—a group exhibition presented by LATAMesa at Mucciaccia Gallery last year—we found ourselves drawn to his vision. It was no coincidence that we borrowed his concept for the title of the show. After the exhibition, we felt compelled to delve deeper into his world, prompting a return visit to his studio—a renewed immersion in the essence of that primordial soup.

Camilo’s new body of work builds upon and remains deeply rooted in his earlier series, Absent Referent, where he draws inspiration from the microscopic world within the human body. Triggered by an enduring fascination with unseen realms, he seeks to unravel and comprehend their hidden intricacies. In this latest series, the human body continues to serve as both subject and metaphor, reflecting the interconnectedness of all things—where the microbial makeup of the body mirrors the elemental structures of the cosmos.

His evolving interest in the fragmented body, along with his ongoing research into ethics, artificiality, and the history of art, permeates this latest body of work. In this series, Parra experiments with a new material: PVC. Embracing its malleable, smooth, and modifiable nature, he employs it as a metaphor for the body’s perpetual transformation. Abstract compositions take shape as he paints with acrylic on PVC marble panels. Biomorphic and gestural brushstrokes press against the edges of the panels, drawing the viewer into a teeming conceptual space—perhaps the primordial soup itself.

LATAMesa: Could you take us through your artistic journey? How has your approach evolved over the years, particularly following your MFA at The UCL Slade School of Fine Art in London and your current involvement with the Turps Off-Site Studio Programme? How have these experiences shaped and informed your practice? 

Camilo Parra: My artistic journey has been a process of "landing," moving from the celestial to the corporeal, from the macro to the micro. It began during my undergraduate studies in Fine Arts at the National University of Colombia, which I completed in 2012. At that time, I was deeply interested in how images in the news were manipulated, particularly in the context of political protests I took part in. However, I didn’t want my practice to be confined to political commentary; instead, I sought to explore broader, more universal themes related to the manipulation of images and truth. This led me to question the narratives I had been taught throughout my life, especially within my Catholic upbringing, which I began to problematise early on in my teens. This scepticism towards religious education became a central theme in my work, intertwined with my fascination for science, paranormal subjects, and the manipulation of images. 

Thus, my early work involved appropriating biblical imagery and transforming it into abstract forms that evoked internal organs, blending religious iconography with medical scientific imagery. Over time, my practice evolved to explore the tension between faith and belief, not just in religion but also in science and pseudoscience. I became fascinated with how images are used to construct realities, whether in religious contexts, scientific discoveries, or conspiracy theories. This led me to create works that questioned the authority of these images, transforming them to reveal their constructed nature. 

During my MFA at the Slade School in London, my practice took a more intuitive turn. I shifted from a highly conceptual approach to a more organic process, allowing the work to emerge through natural experimentation with organic shapes and traditional materials like charcoal and pastels. This period marked a significant shift in my practice, as, for the first time, I stopped appropriating existing images and began working from blank canvases and paper. This liberated me from the hyper-conceptual constraints I had experienced in Colombia and allowed me to reconnect with painting itself, which had been somewhat undervalued in my home country. This period also deepened my interest in the interior of the body, both as a physical and ethical space, particularly in relation to a subject matter that had become central in my life: the moral consideration of animals; and, in connection with my visual explorations, the concept of the "absent referent," proposed by the activist writer Carol J. Adams in relation to the fragmentation of their bodies. 

Currently, as part of the Turps Off-Site Studio Programme, I am further exploring these themes, particularly the intersection of body fragmentation, artificiality, ethics, and the history of art. I am also investigating the potentialities and role of colour in my practice and incorporating synthetic and plastic materials, which allow me to create fluid, editable surfaces that resonate with my earlier explorations of the body in those initial biblical experiments over a decade ago. Gradually, I have also begun to reintegrate, with a renewed perspective, the use of pre-existing images into my process, as I have come to realise through deeper reflection that this is a fundamental pillar of my artistic practice.  This ongoing journey reflects my continuous questioning of epistemological and belief systems and the ways in which images shape our understanding of reality.

LATAMesa: You describe your practice as an intuitive exploration of visual “primordial soups,”  a compelling metaphor that conjures images of a rich, brimming broth where the compounds that form all existence—human and non-human—intermingle. This notion of interconnectedness resonates strongly in your work, with its abstractions poised between stillness and tension. Could you delve deeper into what ‘primordial soups’ mean to you and how this concept influences your artistic expression? 

Camilo Parra: The concept of "primordial soups" emerged as a way to unify the diverse interests that have shaped my practice: religion, science, pseudoscience. It reflects my fascination with origins—both cosmic and biological—and the idea that all existence arises from a chaotic,  intermingled state. This metaphor became central to my work as I sought to reconcile seemingly disparate themes, such as the celestial and the corporeal, the scientific and the spiritual, and many other oppositions that permeate my practice.

During my MFA, I began to intuitively explore forms that had always been present in my work, often unconsciously. I realised that my images were naturally very organic, dense,  liquid, and visually charged, evoking a sense of constant transformation. It was in this context that the idea of a "soup" came to mind, likely during a shift at the restaurant where  I was working at the time. Watching the chefs chop pieces of animals and mix them with  multiple ingredients into a single pot, I saw a parallel to my artistic process—combining and transforming disparate elements into a unified whole. This resonated deeply with my visual language and, in a twisted way, connected to my contradictory ethical concerns  about the fragmentation of the body and my fascination with the origins of everything.  Ultimately, this led me to the concept of the "primordial soup" as a broader metaphor for creation and transformation. 

Distilling my artistic intentions into a simple exploration of "visual primordial soups,” also liberated my practice, enabling me to move away from the extensive rationalisation that had dominated my earlier work. This shift allowed for greater openness and imagination,  

inviting viewers to engage with the work on a more intuitive level. It also reflected my desire to challenge dogmatic structures—whether in the form of religious doctrine,  scientific authority, or artistic theory. 

In practical terms, the "primordial soup" manifests in my work through the layering and interplay of different materials, marks, and forms. I create visual tensions by juxtaposing organic and geometric shapes, fluid and static elements, and natural and artificial textures.  This approach mirrors the chaotic yet generative nature of the primordial soup, where everything is in dialogue, constantly shifting and evolving. At the end, this idea of a primordial soup matched perfectly to my broader existential concerns about life, death, and the vulnerability of existence. 

LATAMesa: Material experimentation seems to play a significant role in your practice. Could you elaborate on your process of selecting and working with materials? For instance,  your series Underlying Waters from Underdeveloped Landscapes incorporates water from diverse countries. Could you share more about the specific materials you chose for this work and your wider practice, as well as the ideas driving these choices? 

Camilo Parra: Material experimentation is central to my practice, as it constantly challenges me to think creatively and remain curious. Each material opens up new possibilities and requires a 

unique approach, which keeps my work dynamic and evolving. It is ultimately through the material that the image acquires form; so although my process often begins with an image or idea, the material itself frequently guides the direction of the work, telling me how to transform it while revealing unexpected connections and meanings. 

In the series Underlying Waters from Underdeveloped Landscapes, I explored the relationship between water and planetary imagery, particularly Mars. This project began by chance when rainwater damaged some inkjet prints of Martian landscapes I had been carrying in my bag. The water caused the ink to bleed and create organic patterns on the reverse side of the paper, which I found visually and conceptually compelling. This accident led me to experiment further with water from different sources—rivers, seas, rain,  and snow—collected during artist residencies in places like Alaska, Montreal, and  Marseille. Each water source produced unique effects, influenced by additional variables such as drying time, paper calibre, or the amount of water and ink used, and further specific conditions of each environment. These experiments reflected the vitality and versatility of water as a vital liquid while connecting it to the idea of water beneath the surface of Mars, a topic of great scientific interest at the time. In this manner, this material exploration allowed me to explore imagery of a hypothetical barren, distant landscape,  while empirically exploring more reachable, local landscapes here on Earth. 

Currently, I am working with PVC marble panels and acrylic paint, materials that align with my interest in artificiality and the mutable nature of the body. These synthetic surfaces allow me to create fluid, editable images that can be easily altered, reflecting the transformative potential of bodily forms embedded within them. This choice also connects to another recent series of work, Unlearnt Lessons, in which I use marker pens on acrylic whiteboards. The smooth surface of the whiteboards enables the ink to flow and create unique organic forms, and the impermanence of the ink is crucial to the conceptual underpinnings of that series. However, with the new project using PVC panels and acrylic paints, I have addressed two key issues I had been striving to resolve for some time: the materials are less toxic and more archival, which tackles both health concerns and the longevity of the work. Nonetheless I want to keep exploring new materials connected to this idea of artificiality, ideally, coming from recycling processes.  

As you can see, each project and material demand different approaches, processes, and  considerations—and that’s what makes it so fascinating! 

LATAMesa: We would love to know more about your approach to technology and observation.  Your practice seems deeply connected to observing unseen or difficult-to-see territories, such as Mars and our inner bodies. Could you share how you initially approached this research, and how it has evolved in your artistic practice? 

Camilo Parra: My interest in observing unseen territories stems from my early fascination with the  manipulation of images and the construction of reality. As mentioned before, during my undergraduate studies, I was drawn to how news media distorted reality, creating narratives that people accepted as truth. These post-truth practices led me to question the broader systems of belief and authority that shape our understanding of the world, from religion to science. 

My practice began with the appropriation and transformation of religious imagery, using scanners, digital printing systems, and medical screening devices to display video stop motion animations. Over time, I expanded this approach to include scientific imagery and observation technologies, employing both high-tech apparatus used to capture alleged realities invisible to the naked eye—such as photographs from the Hubble telescope and the Mars rover Curiosity—and low-tech, more accessible tools like laser and inkjet printers,  photographic cameras, and the internet. These everyday technologies allowed me, as someone from Latin America, without access to cutting-edge equipment, to engage with and manipulate these extraordinary images. This transit from high-tech to low-tech  became a way to democratise access to knowledge, making the invisible visible and questioning who controls the means of representation. 

These images, which depict realities beyond our direct perception, became a way for me to explore the construction of knowledge and the role of images in that process. As my practice evolved, with the mentioned idea of "landing" in mind and moving from the celestial to the corporeal, this journey took me to the interior of the body, which also demands advanced technologies to reveal its hidden, mysterious layers. In both cases,  whether through telescopic images of distant galaxies or my own medical scans of internal organs, I have always been drawn to the tension between what is seen and what remains unseen, and how technology mediates our access to these invisible realms. 

LATAMesa: Finally, what’s next for you? What projects or ideas are you excited to explore in the  near future? 

Camilo Parra: This year, I have a piece from my project Unlearnt Lessons participating in The Trinity  Buoy Wharf Drawing Prize, which will tour several museums and galleries across the UK  until October. I’ll also be involved in some group exhibitions in London, including upcoming shows with fellow artists from Turps. Additionally, I’m looking forward to finally realising long-postponed solo exhibitions in London and abroad. Another project I’m particularly excited about is a potential collaboration with a brilliant Colombian artist and former BA  colleague, whose work I deeply admire. Over the years, we’ve discovered many intersections in our practices, and we’re currently discussing plans for a duo show maybe exploring themes of animality and collapse. 

In terms of the work itself, I’m deeply immersed in continuing to explore this new  "primordial soup" phase, which revolves around abstraction, artificiality, and the interior of the body. This phase integrates new research interests, particularly in the history of animal representation and its evolution into contemporary lab-grown meat technology. I’m interested in framing this artificiality as a positive force, in contrast to the notion of nature as catastrophe. To support this, I’m also experimenting with new materials, including potential biomaterial development in collaboration with a Colombian bio designer I met in London, as well as exploring partnerships with an innovative recycling hub for creatives operating in the city. These collaborations will hopefully allow me to incorporate reclaimed  and more sustainable materials into my practice.  

All these explorations are deeply tied to my personal experiences with health challenges,  my ethical reflections on animal rights and environmental concerns, and my philosophical engagement with the naturalistic fallacy. On a broader level, this new phase also represents an effort to bring together and synthesise not only the aforementioned themes but also all my previous projects and interests into a more cohesive and organic practice.  I’m also interested in extending this exploration into immersive, installation-based projects,  returning in some ways to initial artistic ambitions before coming to London. I’m eager to see how this body of work develops and where it will take me next.