Miguel Ángel Rojas’ Primaria (2, 4, 6, 7) reflects the artist’s enduring commitment to addressing the sociopolitical realities of his native Colombia. Through the integration of gelatin silver prints, linen, and fragments of land mines, the work connects personal memory with collective trauma, bridging the intimate and the political.

This series emerged from Rojas’ collaboration with José Antonio, a former soldier injured by a land mine, whose pose in the photographs evokes Michelangelo’s David. The iconic stance of the Renaissance masterpiece is reimagined here, juxtaposing ideals of classical beauty with the realities of bodies affected by conflict. By incorporating land mine fragments, Rojas situates these works within the specific historical and cultural scars of Colombia’s decades-long violence.