Context II is a series of collages, mostly in black and white. It emerges from the exploration developed in the Context I series on perception and presentation. I chose to use collage as a medium because I see similarities between the process of perceiving the world and reading a collage. Both are essentially the creation of universes and meanings through the reconfiguration of symbols, contexts, and notions.
Inspired by Tumblr and the Mnemosyne Atlas, each collage is a construction generated by the convergence of lines and textures. Once excised, pages from encyclopedias and magazines printed in the 20th century are collected, analyzed, and juxtaposed. Our daily lives are composed of ideas, prejudices, and "truths"—elements like lines on paper that, when converging, dissolve the collage and make it appear credible, plausible. How much of what we consider real isn't? How much of the artificial is intangible?

Conseil (2016)

La omnipotencia divina (2017)

Playing God II (2016)

I will title this later (2017)

Playing God I (2016)

View from the balcony (2015)

Datos duros (2020)

YCAGWYWBIYTSYJMFYGWYN (2020)

Bitch better have my morals (2017)

Opinión ciega (2020)

Bâtiment no.1 (2015)
Series
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Guided by continuity between lines, light, and shadow, the process generates compositions with straight, precise, and mostly rectangular cuts.

The San Francisco Capsule is an exploration on chance, presence, and context. These works were produced with clippings of books and magazines found in book stores around San Francisco. They can only exist thanks to their context: the time and place I bought them. The works are sealed in an airtight capsule containing a mineral stone infused with the fragrances I wore in my stay at the city. The capsule can only be opened again when the works are scheduled for exhibition.



In Cancel Culture, I address elements present in the dynamics of cancel culture, such as accusation, data collection, redemption, and self-reflection.






















Eduardo Caballero is a visual artist based in Mexico City.