Leo Moyano

In my practice, I establish relationships between space, time, and the archive through the documentation of ruins and events in uninhabited places. I propose a process of deconstruction that simultaneously generates harmony, resulting in the creation of a non-place. Drawing from components extracted from other fields, I develop a study of both urban and rural archaeology. I position these existing sites as protagonists—places that have indirectly become ignored or degraded spaces. Through my work, I seek to produce a dialogue between the symbolic weight of each element.
I examine how, throughout history, both real and imagined forms of delimitation have emerged, generating mechanisms of separation from one state to another. I explore how a physical or imaginary wall can divide us, determine status, or establish values that exist solely within the human subconscious. I bring together elements that belong to complex social codes: uncertain scenarios defined by their spatial indeterminacy or perceived uninhabitability, as well as the presence of constant signs of surveillance that provoke reflections on the role of each individual within a constructed social framework.
I strip places, buildings, events, and figures of their identity, enabling a critical discussion of these occurrences within a contemporary platform. My current research stems from questions surrounding the creation and identity of territory, its uses, and the rights of those who inhabit it. How do these fragments become countries or borders, consolidating themselves as nation-states? In this way, I seek to reveal the imaginary limits imposed by human beings, placing these landscapes in tension through divisive actions both within the work and beyond it.
I approach painting across different formats, conceiving it as a medium that operates beyond its conventional framework, transforming into an object with its own territories and trajectories, and inviting the viewer to participate in processes of reconstruction, composition, and spatial disruption. I am interested in foregrounding the objectivity of painting by marking behavioral patterns derived from both theoretical concepts and methodological approaches, revealing spaces of conflict that I investigate both in situ and through archival research.
This engagement with reality leads to the reinterpretation and proposal of new realities, as well as alternative ways of understanding and generating thought—approaches that may originate in interdisciplinary contexts but ultimately materialize within the field of art. Through acts of division and separation, emerging from social constructs, I engage with right- and left-wing ideological frameworks, revisiting obsolete concepts and reinterpreting them in an abstract manner to highlight their transitory nature. Despite these dynamics of separation rooted in specific contexts, the universality of color symbolism and social behaviors allows for the construction of a discourse that remains on the margins of social deterioration, understood as a global constant.