At first blush, it might seem like Luisa Valderrama’s work continues the tradition of Minimalism as it defined itself in the 60s and 70s. Formally, this is true. Yet Valderrama’s work had the added quality of incorporating novel materials, shaping these to conform to a measured, almost geometric sensibility.
The way in which she uses animal parts—as in Confluence No. 2, which incorporates pig intestines—stands out as something of a shibboleth. Using animal parts, her work is a study on both organicity and formalist geometrics.