Queering the Canvas: Juan Sebastian’s Exhibition Redefines Art and Gender at SCOPE Miami Beach
Colombian fine-art photographer Juan Sebastian made an impact with his exhibition, "With the Voices of Other Eternals," in collaboration with photobasel at SCOPE Miami Beach. Displaying 9 life-size portraits of veiled bodies against grand landscapes, Sebastian's work challenges perceptions of identity, gender, and tradition.
Sebastian's art, exhibited globally, has garnered attention for its play on light, composition, and scale. Viewers were not only intrigued by the revelation that the veiled figures are all men, challenging societal norms, but also by the optical illusion wherein the photographs, due to their unique printing on canvas, were initially mistaken for paintings—an unexpected layer adding depth to the viewer's experience.
The exhibition resonates deeply with Sebastian's personal journey, veiling his identity for many years. As a gay artist, Sebastian brings a poignant dimension to his work, exploring the complexities of his experiences through the lens of veiling and unveiling.
Juan Sebastian's "With the Voices of Other Eternals" not only challenges artistic boundaries but also creates a space for dialogue on identity, perception, and self-discovery. Inspired by magical realism, Sebastian blurs the lines between dreams and reality, creating a visual symphony that explores heritage, sexuality, and taboo. Each photograph, shrouded in mystery, prompts reflection on the delicate balance between wonder and disillusionment.
Sebastian, an MFA graduate from the University of Miami, intertwines his passions for theater, fashion, and literature into captivating photographic creations. His pieces were previously showcased at the Venice Biennale in 2015.
In 2020, during the pandemic, Sebastian founded Galeria Subtitulo, supporting artists like Lorena Torres, who credited the initiative for her artistic perseverance. Currently writing his first photobook, Sebastian explores self-portraiture, time, the body, and fashion.
