Abel Rodríguez

  • Abel Rodríguez, or “Guihu” as he was originally known, was born in Nonuya in 1941, in the headwaters of the Cahuinarí River in the Colombian Amazon and raised by the Muinane. His uncle, a "sabedor" (man of knowledge), taught him about the local flora. In the 1990s, Guihu (who by then had adopted the Western name Abel Rodríguez) and his family fled their native territory and moved to Bogota? to escape violence in the jungle, settling in one of the Colombian capital’s poverty-ridden and peripheral neighborhoods. Despite this upheaval, Rodríguez found a way to preserve his family legacy and the ancestral knowledge of the medicinal plants and ecological systems of the Amazon basin through drawing. He became the official guide for botany researchers in the Colombian Amazon and was awarded multiple scholarships to document his plant knowledge. Unable to use oral transmission, which is used in the traditional setting, Rodríguez started drawing trees from memory to provide reference material for education and promote dialogue across the indigenous and scientific communities. As such, his practice represents the survival of Indigenous peoples, knowledge, and cultures. His works are also valued for their artistic qualities, the unique cosmovision they transmit, and for their convergence of Indigenous politics and art world discourses. Rodríguez’s drawings provide an alternative viewpoint to Western ideologies of nature as represented in the history of art, illustrating what a relationship with nature might look like if thought about as a partner.

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Abel Rodríguez

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Abel Rodríguez, or “Guihu” as he was originally known, was born in Nonuya in 1941, in the headwaters of the Cahuinarí River in the Colombian Amazon and raised by the Muinane. His uncle, a “sabedor” (man of knowledge), taught him about the local flora. In the 1990s, Guihu (who by then had adopted the Western name Abel Rodríguez) and his family fled their native territory and moved to Bogota? to escape violence in the jungle, settling in one of the Colombian capital’s poverty-ridden and peripheral neighborhoods. Despite this upheaval, Rodríguez found a way to preserve his family legacy and the ancestral knowledge of the medicinal plants and ecological systems of the Amazon basin through drawing. He became the official guide for botany researchers in the Colombian Amazon and was awarded multiple scholarships to document his plant knowledge. Unable to use oral transmission, which is used in the traditional setting, Rodríguez started drawing trees from memory to provide reference material for education and promote dialogue across the indigenous and scientific communities. As such, his practice represents the survival of Indigenous peoples, knowledge, and cultures. His works are also valued for their artistic qualities, the unique cosmovision they transmit, and for their convergence of Indigenous politics and art world discourses. Rodríguez’s drawings provide an alternative viewpoint to Western ideologies of nature as represented in the history of art, illustrating what a relationship with nature might look like if thought about as a partner.