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Nayda Collazo-Llorens
Nayda Collazo-Llorens (born 1968 in San Juan, PR) is a visual artist whose work spans drawing, painting, printmaking, installation, video, and public art. Her work combines images, sound, and text to investigate how the mind processes information. While themes of displacement, alienation, and synchronicity permeate her videos and interventions, her most recent text-based works explore post-alphabetic communication, hyperconnectivity and “noise” as systems of information.〔Artist statement, (LMAK projects )〕 Collazo-Llorens is the granddaughter of the Puerto Rican literary critic, linguist, and lexicographer, Washington Llorens. Though born and raised in Puerto Rico, she attended college and graduate school in the United States, receiving her BFA in printmaking and graphic design from the Massachusetts College of Art in 1990 and her MFA from New York University in 2002. She has taught at Indiana University of Pennsylvania, Carnegie Mellon University School of Art, Kalamazoo College, and, from fall 2014, holds the position of Stuart and Barbara Padnos Distinguished Artist in Residence at Grand Valley State University.
==Early work, influences, and context==
Collazo-Llorens is a member of a generation of artists who critic Manuel Alvarez Lezama has dubbed “Los Novísimos” – “The Newest Ones” – which he defines as Puerto Rican artists coming of artistic age in the 1990s responsible for an infusion of provocative contemporary art into the Puerto Rican art scene.〔Deborah Cullen, “Here and There: Six Artists from San Juan” in Here & There / Aquí y allá (New York: El Museo del Barrio, 2001), 12.〕 The artists of “Los Novísimos” – including Allora & Calzadilla, Fernando Colón Gonzalez, Yvelisse Jiménez, Arnaldo Morales, and Miguel Trelles – often use mapping terminology, such as the metaphor of the “axis,” discussed by key Latin American cultural critics such as Monica Amor, Guillermo Gómez-Peña, and Gerardo Mosquera, among others.〔 Curator Silvia Karman Cubiña sees the work of this generation of artists as neo-conceptual, “in which object and content are mutually dependent.” For her, “these artists navigate issues of identity, displacement and politics, but contrary to (Rican ) artists of previous generations, they do so without nostalgia or resistance.”〔Silvia Karman Cubiña, “Notes on Neoconceptualism from Puerto Rico” in None of the Above: Contemporary Work by Puerto Rican Artists (Hartford, CT: Real Art Ways, 2004), 22.〕 Holland Cotter, speaking of Collazo-Llorens's participation in the exhibition ''None of the Above: Contemporary Work by Puerto Rican Artists'' at Real Art Ways in Hartford, Connecticut, writes: "the diaspora phenomenon has become the basis for a new kind of identity politics. The art it produces is internationalist in style, embracing photography, video and installation, and tends to hold what might be called indigenous culture at a wry arm's length, in some cases bypassing it.〔Holland Cotter, "None of the Above - Contemporary Work by Puerto Rican Artists" in ART IN REVIEW, ''The New York Times,'' June 4, 2004.〕
Collazo-Llorens adheres to the notion of non-linear narratives as in the writing of such authors as Julio Cortázar, Mark Z. Danielewski, and Don Delillo, as well as to theories of perception – based on the dislocation of time and place through travel – espoused by Wolfgang Schivelbusch and Mitchell Schwarzer.〔Kathleen MacQueen, “(Nayda Collazo-Llorens: The Consistency of Chaos ),” a companion essay to the exhibition ''An Exercise in Numbness & Other Tales,'' Richmond Center for Visual Arts, September 6-October 5, 2012, unpaginated.〕 Her interest in the non-hierarchical, rhizomatic arrangement of data is reflective of Deleuze and Guattari’s emphasis on the nomadic nature of knowledge: “To be rhizomorphous is to produce stems and filaments that seem to be roots, or better yet connect with them by penetrating the trunk, but put them to strange new uses.”〔Gilles Deleuze and Felix Guattari, ''A Thousand Plateaus: Capitalism and Schizophrenia,'' trans. Brian Massumi (University of Minnesota Press, 1987).〕 It is these “strange new uses” that infiltrate an art derived from her bifurcated existence between Puerto Rico and the United States. She takes the language of cartography – part of her familial as well as artistic environment – and links it to digital communication and code-switching (the splicing of Spanish and English), working it through intersections that are both systematic and random: replete with directed thought and disconnected noise. “Collazo-Llorens builds a text of alienation – of being alien,” writes art critic and theorist Kathleen MacQueen, “as an existential process of identifying what it means to be human.”〔Kathleen MacQueen, "Subtle Intensities of the Unexpected," (''By Chance, A Video Show.'' ) 80WSE Galleries, 25 Jan. 2011.〕
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