Runo Lagomarsino’s “Following the Light of the Sun, I Only Discovered the Ground”: A Meditation on Colonial Legacy

Runo Lagomarsino's "Following the Light of the Sun, I Only Discovered the Ground" (2012–2014) isn’t merely a visual experience; it’s an invitation to contemplate the weighty echoes of colonialism within contemporary Latin American artistic discourse. Born in Lund, Sweden, Lagomarsino's oeuvre consistently interrogates societal structures and historical narratives—a preoccupation evident throughout his multifaceted practice encompassing video installations, sculptures, and text-based artworks. This particular piece delves into the unsettling repercussions of monumental art commissioned to commemorate pivotal moments in history, specifically the quincentenary celebration of Columbus’s voyage to America. The artwork centers around a large circle dominating the canvas, encircled by smaller circles—a visual motif that immediately speaks to notions of containment and expansion, mirroring the dynamics inherent in colonial encounters. Lagomarsino skillfully employs sun-paper, a technique where sheets of paper are bleached by prolonged exposure to sunlight, resulting in delicate, ethereal hues that subtly transform over time. This deliberate choice underscores the artwork’s preoccupation with decay and resilience—themes interwoven throughout Lagomarsino's broader artistic explorations. The artist juxtaposes black-and-white photographic documentation of Zurab Tsereteli’s rejected statue “Birth of the New World” with images of the monument itself, highlighting its flawed assembly and exposing the problematic misinterpretation of colonial heritage.

• Style: Lagomarsino's style leans heavily toward abstraction, prioritizing conceptual exploration over representational accuracy. The circular forms serve as a symbolic shorthand for broader ideas about power, influence, and the cyclical nature of history.
• Technique: The sun-paper method is remarkable for its sensitivity to environmental factors—temperature, humidity, and UV radiation—resulting in unpredictable variations in color and texture that contribute to the artwork’s organic aesthetic.
• Historical Context: Lagomarsino's work directly confronts the legacy of colonialism by examining how monumental art projects can perpetuate biases and distort historical perspectives. The rejection of Tsereteli’s statue exemplifies the challenges faced by artists attempting to engage with complex cultural histories.

The resulting image is a serene yet unsettling portrayal—a quiet meditation on the consequences of imposing dominant narratives onto marginalized communities. Lagomarsino's use of text fragments within his drawings adds another layer of complexity, prompting viewers to consider the role of language in shaping our understanding of the past and present. The artwork’s subtle beauty resides not just in its visual form but also in its capacity to provoke thoughtful reflection on issues of cultural identity and social justice. It's a piece designed to linger in the mind long after viewing, encouraging dialogue about how history continues to inform contemporary artistic practice. Recommended for Collectors: This artwork’s understated elegance and intellectual depth resonate particularly well with collectors interested in challenging conventional interpretations of art history and embracing experimental techniques that prioritize conceptual resonance over stylistic convention. Its evocative imagery and symbolic richness make it an ideal addition to collections focused on exploring themes of migration, memory, and the enduring influence of colonial legacies.