Égida (jaguarundí).
Glazed earthenware.
34 x 19 x 20 in / 86 x 48 x 50 cm.
Made in 2022.
From the series of three-headed, gargoyle-like vessels with 360º
vision. Various animals are represented in the Égida series, all associated with or endemic to the Northern Andes. They are either mythological, elusive, nocturnal, or at risk of extinction.
The series also includes depictions of serpents, marmosets, jaguarundis, bats and owls.
Égida (gallina ciega).
Glazed earthenware.
14.5 x 22 x 12 in / 24 x 25 x 18 cm.
Made in 2022.
From the series of three-headed, gargoyle-like vessels with 360º
vision. Various animals are represented in the Égida series, all associated with or endemic to the Northern Andes. They are either mythological, elusive, nocturnal, or at risk of extinction.
The series also includes depictions of serpents, marmosets, jaguarundis, bats and owls.
Inmersión.
Single-channel video, color, sound, 2:49.
Unedited video footage from a performance taken in 2022 using basic equipment in Media Luna, a rural district of Medellín where my family is from. The video blurs artifice, ritual, and documentation. Camera by Robert Hickerson.
Made in 2022.
![Desnudo [Nude]](https://asicazmonzon.com/wp-content/uploads/2026/06/img148.jpg)
Desnudo [Nude].
Earthenware, nail polish.
8.8 x 9.5 x 9.8 in / 22.2 x 24.1 x 24.8 cm
Made in 2022.
![Desnudo [Nude]](https://asicazmonzon.com/wp-content/uploads/2026/06/img141.jpg)
Desnudo [Nude]
Earthenware, nail polish.
8.8 x 9.5 x 9.8 in / 22.2 x 24.1 x 24.8 cm
Made in 2022.
From anonymous Moche huacos to Herman Makkink´s Rocking Machine in Stanley Kubrick’s 1971 A Clockwork Orange, Desnudo [Nude] responds to different historical depictions of the penis. The artwork is also informed by Bell Hook’s observations on child education (The Will to Change, 2004) and Carol J. Clover’s analysis of the weapon-as-phallus in 70s and 80`s slasher films (Men, Women and Chainsaws, 1992). Both authors analyse, in very different ways, the effects of internalized rape culture and the portrayal of maleness and masculinity in mass media. The earthenware Desnudo [Nude] is coated with nail polish, incorporating ceramics and cosmetic material to arrive at a softened stylization.
![Anciane [Elder]](https://asicazmonzon.com/wp-content/uploads/2026/07/img1345.jpg)
Anciane [Elder].
Terracotta, nail polish.
29-1/2 x 21-1/2 x 30 in / 101.6 x 53.34 x 76 cm
Made in 2022.
My family has gone through a long process of blanqueamiento (or racial whitening) that has been at times deliberate and at times unconscious. Like much of the rest of my work, when I think of Anciane [Elder], what I envision is Chibchan and other ancestors
native to Abya Yala and beyond who have been subject to sustained
attempts of erasure.
![Joven [Youth]](https://asicazmonzon.com/wp-content/uploads/2026/06/2023_07_19_STARS13470-1.jpg)
Joven [Youth].
Earthenware, nail polish.
35 x 18 x 7 in / 89 x 46 x 17 cm.
Made in 2022-2023.
Referencing a Quimbaya poporo from the fifth or sixth Century C.E.
and other depictions of standing figures from the Northern Andes, the
ceramic Joven [Youth] resembles an archaeological find. However,
instead of having a bare earthenware surface or vitreous glaze finish, it is coated with nail polish, a gesture that toys with the artifice of gender and the unstable boundaries between the modern and the ancient, the original and the reproduction.