Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art

Ronny Quevedo works allude to everything from real structures such as gymnasium flooring to more abstract depictions of Incan constellations. All, however, can be interpreted as maps tracking the trajectory of stars or the migratory movement of people, such as the artist and his family, who came from Ecuador to the Bronx in the early 1980s.The works—which involve a range of different artmaking techniques and media, including screen printing, embossing, and silver and gold leaf overlay—are schematic (and oftentimes highly abstracted) renderings of the markings and lines made on both contemporary playing fields and pre-Columbian ballgame fields. They suggest the quick movement of people, weather athletes or immigrants, and in many ways, resemble migration maps. The abstraction also detaches the works from their references to a real physical space, associating Andean ancestry and contemporary culture to a wider cosmos.