'Ronny Quevedo: at the line'

Working across printmaking, drawing, sculpture, and installation, Ronny Quevedo uses schematics—from dressmakers’ pattern sheets to architectural plans to geographical maps—in order to explore the formation of individual identity that is shaped by a fractured past. References to zoot suits are brought into conversation with Quechua culture, while Mesoamerican ballcourts are placed next to diagrams of soccer stadiums. Intentionally conflating time, space and languages, the artist maps relations between distinct histories, narratives, and visual forms.

At the Colorado Springs Fine Arts Center, Quevedo premieres newly commissioned large-scale works, including a new floor installation composed of reclaimed wood sourced from a professional basketball court. The artist selected pieces from the section of the court commonly known as the paint, broke them apart and reconfigured them, then overlaid them with a new diagram. This work is the latest in a series of architectural projects related to historic and contemporary playing fields, including Mesoamerican ball courts, basketball courts, and indoor soccer fields—sites that provide spaces for collective assembly. In this way, the series considers the role of the individual within a larger collective while also reflecting on the rules and inconsistencies that govern labor, movement, and migration.