Skip to main content Ronny Quevedo there is no halftime

Ronny Quevedo: at the line

Central & South El Pomar Galleries

October 1, 2021 - December 5, 2021

We’re Open! Reservations to visit the galleries are required at this time 

Ronny QuevedoWorking across printmaking, drawing, sculpture, and installation, Ronny Quevedo uses schematics—from dressmakers’ pattern sheets to architectural plans to geographical maps—in order to explore the formation of individual identity that is shaped by a fractured past. References to zoot suits are brought into conversation with Quechua culture, while Mesoamerican ballcourts are placed next to diagrams of soccer stadiums. Intentionally conflating time, space and languages, the artist maps relations between distinct histories, narratives, and visual forms.

At the Colorado Springs Fine Arts Center, Quevedo premieres newly commissioned large-scale works, including a new floor installation composed of reclaimed wood sourced from a professional basketball court. The artist selected pieces from the section of the court commonly known as the paint, broke them apart and reconfigured them, then overlaid them with a new diagram. This work is the latest in a series of architectural projects related to historic and contemporary playing fields, including Mesoamerican ball courts, basketball courts, and indoor soccer fields—sites that provide spaces for collective assembly. In this way, the series considers the role of the individual within a larger collective while also reflecting on the rules and inconsistencies that govern labor, movement, and migration.

Quevedo’s new works are presented alongside a selection of recent drawings and sculptures that incorporate a wide range of materials, from gold leaf, wax, and muslin to plastic crates, carbon paper, and pattern sheets. These choices bring to mind myriad references extending beyond the realm of traditional painting and drawing, touching upon materials and processes connected with immigration and movement both past and present.

A celebration of Quevedo’s recent artistic practice, at the line brings together works that weave together layered histories from across the Americas and poetically speak to the formation of diasporic identities.

Top image: Ronny Quevedo
no hay medio tiempo / there is no halftime (after Glissant and Quevedo) (detail)
2017, Custom printed vinyl and vinyl tape
Photo by Hai Zhang

Above left: Ronny Quevedo
no hay medio tiempo / there is no halftime (after Glissant and Quevedo)
2017, Custom printed vinyl and vinyl tape
Photo by Argenis Apolinario



Wednesday–Saturday 10 a.m.–4 p.m. by reservation only

Admission includes entrance to all other galleries in the museum.


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