Adán Vallecillo’s (Danlí, Honduras 1977) practice reflects the social political situation that most countries in the vast Latinoamerican area underwent during the 80’s and 90’s of the 20th century, both periods in which political convulsion was followed by a complex social outbreak, decisive in the new configuration of the area.  Nowadays despite all the improvements and advances experienced in this part of the continent, there is still an external constraint difficult to avoid and which slows down the possibility of a real and effective development of these nations. Latinoamerican political governments are fragile, most of them have been built on the remains of a post-colonial liberalism, which has deprived these countries of their own identity.

In a certain way, the cultural and social impositions of western culture have determined Adan Vallecillo’s own approach to art. Adan uses industrial manufactured products and everyday objects to create a work which can be read as a political and social manifest, in which it becomes evident how strong the presence of european and northamerican culture has been and still is in his own cultural system. By employing very common and fragile materials he questions the society in which he lives, offering a critical yet sensitive vision of the complex reality of his country. Adan’s oeuvre reveals a sensibility that follows the poetics left behind by the Arte Neoconcreto and more precisely by the figure of Helio Oiticica.

Adán Vallecillo has widely participated in different artistic events such as Illuminazioni, La Biennale de Venezia, 2011, (S) Files, Bienal del Museo del Barrio, New York, 2011, California-Pacific Triennial, Orange County Museum of Art, USA, 2013, Bienal de Mercosur, Porto Alegre, Brasil, 2015, Trienal Poligráfica de San Juan, Puerto Rico, 2015, Bienal de Arte Paiz, Ciudad de Gauatemala, 2015, or Bienal Internacional de Cuenca, Ecuador, 2016.