About Us

Alejandro Arauz is an artist and educator whose research-based studio practice investigates displacement, identity, and resistance within the Latin American diaspora. Working across printmaking, digital imaging, performance, and installation, his work examines how migration reshapes the body, memory, and material culture, foregrounding processes of adaptation, resilience, conservation, and sentimentality. Drawing on lived experience and diasporic histories, Arauz engages traditional and expanded print methodologies to explore how images and material practices articulate shifting formations of belonging. Arauz’s practice is grounded in print as praxis and in the embodied conditions of making. He approaches print not as a stable medium of reproduction but as a durational, performative, and relational process through which meaning is generated. Central to his work is fugitivity as a conceptual framework: a mode of practice that resists fixity, embraces provisionality, and refuses closure. Through strategies of inscription, erasure, layering, delegation, and repetition, he situates printmaking as a fugitive methodology that registers movement across media and parallels the instability of diasporic subjectivity. His frequent use of the body as a printmaking matrix, alongside hybrid analog–digital workflows, foregrounds the body as both archive and site of inscription, exposing how identities are constructed, fragmented, and circulated through institutional and technological systems. A key dimension of Arauz’s practice is his sustained engagement with print performance and time-based processes. He experiments with relief print, pressure, and registration to generate photographic qualities - such as trace, exposure, and indexicality - using print as a lens to parallel adaptation and transformation. These works treat printing as a performative encounter, where the interaction between body, matrix, and surface becomes a record of movement, friction, and negotiation. Arauz also examines the role of print in surveilling and regulating the body, interrogating how print technologies tied to documentation and classification function as tools of visibility and discipline, while repurposing them as sites of refusal and counter-inscription. By reworking institutional and archival visual languages, his practice questions how bodies are rendered legible, tracked, and reproduced, and how these processes might be disrupted through material intervention. Collaboration and community-based production are integral to his practice. Arauz treats authorship as distributed and processual rather than individual and fixed, emphasizing collective labor, technical knowledge-sharing, and co-production. He is an Assistant Professor at Queen’s University. He holds an MFA from Louisiana State University and a BFA from the University of Windsor.