Sol Pipkin


All my works oscillate between the three-dimensional and the two-dimensional spaces: they are drawings or sculptures, depending on how they’re looked at.
I’m interested in bringing space closer to the possibilities of paper and emptiness closer to the possibilities of drawing. And those two experiences feedback on each other in my work.

I try to expand and know the limits of lines, points, stains and emptiness, to create routes, observation points and other ways to imagine their meaning.
I propose to observe and recreate the matter of the world, without aiming to reach a statement, but to create a space where doubts and a certain humor can spark the beginning of a new perspective or re-active sensibility.

I don’t have a linear method in my creative process; I rely on imbalance and the constant mutation that comes from experimenting, as well as intuition before matter.

I’m stimulated by making in order to think: Modifying the space, moving the line that divides the wall from the door, making a canal of which we can see the entrance and exit in the air, a walkable circuit, bordered by a long line of elastic bands, a door built with charcoals.
I create drawings, sculptures and objects, strengthening an obsolete, absurd utility, presenting their matter as matter in itself.

I encourage the encounter of organic, natural materials such a seeds, pumpkins or flowers, with industrial elements such as metal or cement. I place them in relation to each other, looking for meeting points between them, or traces of politics, economics and decisions in relation to the realm of nature.
Many pieces share a fragility that is common to all of them; any blow, careless walk or inconvenient touch could destroy them.

This fragility is not a warning, but an invitation to the physical experience of drawing and sculpture.


Maleza sin pies ni cabeza


Sol Pipkin was a grant holder from the 2010 Artists program at the Torcuato Di Tella University. She was formed in artist workshops and artwork analysis clinics with Diego Bianchi, Eduardo Navarro, Mónica Girón, Carlos Huffman, Pablo Siquier, Ernesto Ballesteros and Karina Peisajovich.

Noteworthy among her most recent solo exhibitions are: Maleza sin pies ni cabeza [Weeds Without Rhyme or Reason], Machete Galería, Mexico City (2017), El paso errante [Roaming Pace], a conversation with Santiago G. Navarro, SlyZmud, Buenos Aires (2016), Lengua de carbón [Charcoal tongue], Proyecto Alimentación 30, Madrid (2015), Todo lo que flota se apoya en el aire [Everything that floats is supported by air], Machete Galería, Mexico City (2015) and Piltriquitrón Inside at the Buenos Aires Museum of Modern Art (2014). She has had shows in museums and cultural spaces such as the National Fine Arts Museum, Rosario Contemporary Art Museum, Spain Cultural Center, Borges Cultural Center and Recoleta Cultural Center in Buenos Aires.

In 2011 she was selected for the Andreani and Curriculum 0 awards and in 2012 for the Lucio Fontana award from the Italian Consulate. In 2013 she was awarded the Argentinian Collectors Stimulus by the Rosario National Hall.

In 2013, in collaboration with Flor Caterina she created El piso de arriba [The upstairs], a seminar for experimentation and research about methodologies in artwork production.

She was selected in 2015 for the Móvil residency in San Martín de los Andes, Argentinian Patagonia. In 2019 she did a residency in Casa Wabi, Oaxaca, Mexico.

Her work can be found in the permanent collections of the Modern Art Museum of Buenos Aires and La Ene, New Energy Museum of Contemporary Art in Buenos Aires.