COLOMBIAN ARTIST ORLANDO ROJAS TURNS PAINTING, SOUND, AND SPACE INTO TROPICAL COSMIC WEATHER.
In Orlando Rojas’s multimedia field, painting does not stay on the wall. It reverberates through sound, atmosphere, and spatial rhythm, turning Colombian tropical imagination into an immersive language of glow, reflection, rupture, and cosmic sensation that viewers feel before decoding it.
A Field, Not a Frame
To call Orlando Rojas a painter is true, but it is not enough. Once his work is understood as a multimedia field of painting, sound, and space, the whole thing opens up. The canvases stop behaving like sealed images. They start acting like zones of pressure, resonance, and sensory drift.. They want the viewer to feel the image as an atmosphere.
That shift matters because Rojas is not building a simple visual spectacle. He is building conditions. In Alquimia de una sensibilidad anfibia fluorescente, the panoramic composition reads less like a scene than like an environment passing through several states at once. There is lightning, a horizontal red beam, a pillar of fire rising from water, a pale luminous arc, a frog suspended near the center, floating island forms, a flying body sketched with winged velocity, and on the right, a deep green mass held by gold linear scaffolds and tiny vegetal eruptions. The painting moves like weather, but it also moves like sound. The lightning feels like a crackle. The red band feels like a sustained electronic tone. The yellow arc behaves almost like a phrase drawn through the air, something legato crossing a field of interruptions.
Amphibian here is not just about the frog. It is a way of thinking. This is a work that lives between mediums, the way amphibious life lives between elements. Water mirrors fire. Sky behaves like a screen. Gold geometry touches living matter without fully mastering it. The body near the top seems to be becoming current, bird, signal, maybe even prayer.
Anyone who has lived in the tropics understands, intuitively, that perception is never purely visual. Humidity changes how space feels. Thunder changes how color lands. A patio, a riverbank, a hillside, a street corner after rain, none of these are silent places. In that sense, Rojas’s field feels deeply Colombian and broadly Latin American.
Painting That Listens Back
That idea becomes even sharper in Evento cosmontológico, which might be the clearest case of Rojas treating painting like an acoustic event. The canvas erupts from a blinding white center into a black ground thick with yellow, violet, pink, blue, gold, and silver shards. At first glance, it reads as an explosion. The image radiates with astonishing control. Zigzags, arrows, blades, smears, and chromatic ribbons fly outward, yet the detonation never loses its internal rhythm.
This is where the multimedia idea becomes essential. Rojas is not simply depicting energy. He is composing impact as if it were both heard and seen. The central white zone is almost too bright to hold, which gives the eye the same kind of pressure the ear feels when exposed to a very loud sound. Rojas uses excess structurally. He knows that saturation can organize a surface just as effectively as restraint. The result is not chaos. It is a different order, one built from acceleration, interruption, and layered intensity.
Patio metatropical de interferências shifts the mood, but not the ambition. Here, the field quiets down into a stranger kind of vibration. Acid greens, lime yellows, turquoise bends, and magenta vegetal shards gather around a central reflective passage of black, white, and gray that looks like water, a mirror, a glitch, and a corrupted signal all at once.
The central reflective zone promises clarity, yet delivers distortion. It wobbles like a bad reception. It ripples like a pool The painting does not illustrate interference. It performs it.
A Colombian Cosmos You Can Enter
Seen this way, Chuzos cósmicos becomes the perfect extension of Rojas’s field logic into space. The work is installed as two tall, narrow panels, already more architectural than pictorial. Each panel is organized by a vertical gold axis. On the left, that line carries glowing and planetary forms, one bright white flare near the top, then a molten gold sphere, a blue earthlike body, a pale mottled orb. On the right, the same axis carries softer halos of orange, pink, and green, topped by a compact biomorphic cluster that looks part flower, part shell, part nebula.
The installation turns them into a duet. Two voices. The blue and pink spill of surrounding light folds the wall itself into the work, so that space stops being neutral support and becomes part of the composition. This is where the multimedia field becomes unmistakable.
That Colombian experience, and Latin American experience more broadly, is rarely separated into clean categories of image, sound, climate, memory, and belief. It comes mixed. Layered. Interfering with itself. Radiant and unstable.
His work honors that condition. The paintings glow, but they also hum. They detonate, but they also echo. They open spatial paths rather than offering fixed pictures.
Contact: +39 351 8259383
Website: www.orlandorojasgutierrez.com
Instagram: @orlandorojasartista
EMAIL: orlandorojasguz@gmail.com