1980 COLOMBIA

After few years of working as an artist, Samper realized that the conceptual support of his work was staring him right in the face. But during that time, traveling, visiting museums and galleries in other parts of the world, he could not have understood how strong and solid the base that was supporting his work was. he thinks that the most important thing is to be your own self and understand where you come from; those are strong foundations to start seeing things in a different light.

As a child, he was always drawn to crop lines and the optical effect when passing next to them in a car. For an instant, it would seem as if you stopped and that what was moving was the landscape.

He thinks there is something very interesting in this fixation with the order of those lines, that the land does not matter, they adjust to it. He was happy to have realized this because there is space for research and development.

There is a certain esthetic beauty about the systematic order of crops and the way in which the fields are distributed. As a result, he sees that several concepts stem therefrom with which he could work. From life, itself under the concept of “germination” to the concept of “adaptation”.

If we look at Colombia, he believes that wealth, equality and peace, are based on the reprehensible use of the countryside.