Alejandra Caicedo Columbia, 1996

In this work, Caicedo transforms an everyday object—a simple plastic chair—into a powerful site of projection and absence. The chair, a ubiquitous presence across Latin America, carries with it associations of domestic space, community, and informality. Here, however, it is isolated within a carefully staged environment, its familiarity rendered uncanny.
Draped across the chair are long, braided strands of hair, which extend beyond the object and into the surrounding space. These braids function as a surrogate for the body: they imply presence while simultaneously emphasizing absence. The figure is not depicted, yet it is unmistakably there.
This strategy reflects Caicedo’s ongoing exploration of identity as something that exceeds the physical body. The braids act as lines of continuity, connecting personal memory with spatial experience. They resist containment, suggesting that identity cannot be fully anchored in a single place.
The composition itself is notable for its clarity and restraint. The pastel tones of the background, the controlled lighting, and the precise rendering of surfaces create a sense of quiet tension. Caicedo’s painterly approach—combining smooth transitions with sharply defined contours—demonstrates her technical sophistication.
This work resonates strongly within current conversations around contemporary figurative painting and postcolonial identity. It offers a subtle yet emotionally charged reflection on migration, belonging, and the traces left behind. As such, it stands out as a highly engaging and collectible piece within Caicedo’s oeuvre.