2022
The Wait
Mixed media, 39 in × 39 in / 100 cm × 100 cm
Private collection
Visual Artist
Angie Rangel (Barranquilla, 1994) researches memory as a poetic practice. Working through painting, drawing, and textile processes, she examines how domestic objects, childhood garments, and inherited gestures operate as mnemonic devices that shape feminine identity within contemporary Latin American contexts. Her practice positions the handmade as a form of knowledge: a method for reconstructing personal and collective histories embedded in textile lineages and domestic labor.
An ongoing visual archives in formation. Through watercolor, diaristic notation, and iterative study, she translates garments and domestic space into coded forms that oscillate between document and fiction. This methodology aligns her with contemporary discourses on feminist material culture, affective archives, and the politics of care.
By foregrounding repetition, variation, and the instability of recollection, Rangel articulates an expanded notion of painting—one in which intimacy becomes a site for critical reflection on memory, cultural inheritance, and the structures that shape visibility.
Mixed media, 39 in × 39 in / 100 cm × 100 cm
Private collection
Oil on canvas, 59 in × 59 in / 150 cm × 150 cm
There is a Greek myth that places the origin of painting in the hands of a woman. In Pliny the Elder's Natural History, there is an account about the origin of painting in which a maiden named Kora traces the outline of her lover's shadow before he leaves for war. Whether the myth is true or only part of the imaginary, what is undeniable is that painting has always been a worker of memory, helping preserve what we consider of great value. Vincent wanted to preserve his boots, Séraphine Louis wanted to preserve her flowers, and Modigliani his beloved women.
Angie Rangel, who begins her path in art through painting, integrates it into her daily life, studies it, and approaches its enigmas in order to crystallize, through it, the moments that have marked her process as an artist and as a woman who has traveled through different places, among them her city of origin, Barranquilla. Thus, in her proposal we see a mixture of dreams and realities that highlight the architectures and ornaments of her former homes, evoking life alongside her grandmother, her childhood, the warm climate, and that Macondo-like atmosphere that merges with a new way of life through art, where unsettling pieces appear that evoke Jeff Koons or Botero, hinting at her arrival in the city of Medellín. It is precisely this that conjures the encounters that run through her life and her work, and that, like a "diary," she records in words on the back of her paintings, so that each experience remains contained in both text and image, fulfilling the full sense of evocation.
There is also, in her work, a special fondness for the painting of women. Another latent encounter with her femininity, with her ideals and with other women, where she explores with them her delight in clothing, attire, and the fusion between painting and fashion, reminding us of the exuberant stage costumes portrayed by painters of past centuries, dressing them in garments full of flowers, textures, ruffles, and, once again, memories. These encounters are the meaning of this exhibition, and they are the becoming of her life as an artist and as a woman in a city that inspires movement, femininity, and art.
— Úrsula Ochoa, Master in Aesthetics, Art curator and critic
Uncool Artist, Brooklyn Navy Yard, 2025
My residency at Uncool Artist, based at the Brooklyn Navy Yard, was transformative on both a personal and artistic level. During this period, I became deeply aware of new ethical frameworks in contemporary art production, and more importantly, of how my work is understood within a global context. The residency pushed me to focus less on where my work might lead and more on how and why I make what I make, allowing the process itself to become central.
During the final quarter of the fall–winter season, I developed a series of watercolors based on the textiles used in my childhood dresses from the late 20th century. These works function as a subtle, almost forensic reading of those garments: their materials, their use, and their journey. I researched how textiles traveled from Europe by ship, passed through the Panama Canal, and arrived in the Caribbean region of Colombia, where they were eventually used in local dressmaking houses and boutiques. Many of these garments were made almost entirely by hand by my aunts, blending domestic labor with small-scale production.
This body of work combines symbols with strong traditional significance with individual human gestures. During the open studios at Uncool Gallery and the final presentation, the drawings activated a process of reconstructing past narratives. Rather than repeating what already exists in historical archives, I intended to extend the conversation: to reflect on what women wore during the 20th century, how textiles circulated through ports, and how my family's history of hand- and machine-made garments shaped not only my own childhood but that of an entire generation of girls at the end of the century.
Angie Rangel (Barranquilla, 1994) is a Colombian visual artist whose practice investigates memory, femininity, and domestic archives through painting, drawing, and textile-influenced processes. Working with childhood dresses, household objects, and inherited sewing gestures, she examines how intimate materials function as emotional records that shape identity within contemporary Latin American contexts.
Rangel holds a professional degree in Fine Arts and expanded her curatorial and institutional research through the program How to Organize an Art Exhibition at the Museo de Arte Moderno de Medellín (MAMM). Her trajectory includes an exhibition at the Museo del Atlantico, collaborative projects with Dora Franco + Femmes Photographers, and her first solo exhibition, Encuentros (Medellín, 2024), followed by presentations in Spain and the United States.
In 2025, Rangel completed a residency in Brooklyn, New York, engaging with historical dress archives at the Metropolitan Museum's Costume Institute while advancing a body of work that reinterprets childhood garments and domestic objects as sites of affective memory and cultural inheritance.
Photography and mixed media exhibition in the Colombian countryside.
Solo exhibition created by Ursula Ochoa
Directed by Jorge Arnedo and Alex de la Torre
Photography exhibition
Presentation with Uncool Gallery.
In 2025, Angie Rangel became a member of DATARTE.
For inquiries about available works, commissions, or exhibition opportunities, please reach out.
