Rafael Chamorro has developed an artistic practice deeply rooted in individual expression—a space where historical processes, conversations with other artists, and the cultural legacy inherited by him and his generation converge. He understands contemporary art as a form of communication. For him, a work of art can transmit a clear idea through rational and conceptual means, or appeal to the intuitive and emotional. Both are non-verbal languages: one leans toward reason, the other toward feeling. Chamorro is more interested in the emotional route—works that awaken something visceral, irrational, a sensory experience.
He fondly recalls something the artist Virginia Pérez-Rattón told him years ago, words that still resonate with him: there are artists who are highly skilled in craftsmanship, and others who are more intellectual, with clear mental processes even if not as technically proficient. She pointed out that being somewhere in the middle could be a strength. At a time when he felt uncertain about his place in the art world, this insight helped him realize that he didn’t need to fully identify with either extreme. Being “in between” could be an advantage—and embracing that position was a relief.
Chamorro acknowledges the importance of key figures in the history of Costa Rican art, especially artists like Virginia Pérez-Rattón and Rolando Castellón, who, to him, represent a living legacy that responds to the country’s historical gaps and shortcomings. Nevertheless, Chamorro has always remained on the margins of official or more formal structures, preferring open, collaborative spaces rooted in relational networks—like those that existed in San José during the 1990s and early 2000s. At that time, independent galleries and spaces such as TEOR/éTica and Andrómeda became formative platforms. Even before that, however, he had already engaged in artistic processes with figures such as Fabio Herrera. His work began circulating in artistic networks even before the year 2000.
Among the anecdotes he shares, he highlights how the artistic community functions like a magnet, attracting people with shared interests and sensibilities. He recalls, for instance, the first time he met Soledad Zúñiga in 2011, when Castellón introduced him to Galería Alternativa during a book fair. That moment turned into a warm and intimate encounter that helped forge relationships and strengthen bonds that remain to this day—his professional and personal connection with Soledad Zúñiga and Helen Broide.
Later, he took over from artist Gerardo Ramírez at Alternativa, where Ramírez had been in charge of exhibition installation. For Chamorro, this process of mounting and organizing exhibitions also reflects his sensitivity to space and community: the work inside a gallery is a collective process, where collaboration is essential in shaping the exhibition. He notes how every detail of the installation is carefully considered to ensure the experience is cohesive and meaningful.
Chamorro’s work is marked by a deep connection to mythology—not merely as a narrative reference, but as a symbolic framework that fuels his creative process and gives structure to his compositions. For him, myths are not relics of the past, but living forces that engage with the present and allow for the exploration of the cultural and emotional roots of human experience.
This personal and collective mythology organically intertwines with the materiality of his pieces. Chamorro works with a palette that emerges directly from the inherent character of the materials he uses. In his work, color is not arbitrarily applied but is an intrinsic quality of the medium—wood, paper, fabric—that brings unique texture and energy. Tones and hues are uncovered and revealed as the artist manipulates each element, allowing the material to speak for itself and for the story it wishes to tell.
Collage and assemblage are fundamental tools in Chamorro’s practice, through which he constructs fragmented visual narratives that invite viewers to piece together meaning. Collage allows him to combine disparate elements into a surface charged with memory and symbolism. Assemblage, on the other hand, integrates those elements into three-dimensional space, creating a tactile and visual experience that breaks away from traditional two-dimensionality and proposes a direct dialogue with the surrounding environment.
Through assemblage, Chamorro aims to create works that are more than just objects—they are meeting points between different temporalities and realities. Each element has its own history, and the act of uniting them becomes a process of synthesis where layers of meaning and sensitivity unfold. This method also reflects his interest in fragmented history and the shortcomings of official narratives. Instead, he proposes a living memory—dynamic, open, and receptive to multiple interpretations.
Ultimately, in Rafael Chamorro’s work, mythology, color, and materiality converge into a visual language that embraces the complexity of being and time. His assemblages are windows into symbolic universes, where materials find their voice and history is rewritten through its very genesis.
Text written by Cristina Ramírez
