Erik Saucedo

Reality is, as we know, always open to multiple interpretations. In the visual arts, this idea has given rise to various approaches in disciplines such as painting and drawing, which offer both contemporary and retrospective analyses of the history of modernity. These practices continue to question the remnants, promises and memories of philanthropic prosperity, questioning whether the historical narratives of “prosperity” and “good intentions” were ever real, whose interests they served, what remains of them today, and how these ideas have shaped (or distorted) our understanding of social progress. Through personal reflections and specific methodologies, they explore how the reality we perceive intersects with media-driven objectivity and the acculturation of information, processes that symbolically reshape our understanding of time and space.

This body of work reinterprets universal history by drawing on materials, found images and personal photographic archives. In doing so, it constructs new discursive perspectives that introduce “narrative” distortions, aimed at examining the processes that have shaped today’s social and cultural contexts. Ultimately, these interventions lead to the alteration and reconfiguration of contemporary collective memory.