With the simplicity typical of mature reflections, the artist Liliana García makes us see how the world is conceived for exclusive enjoyment. 

The World Bank says that close to 1,000 million people suffer from some kind of disability: more or less 15% of the human population. In Colombia, health authorities claim that this is almost 1.5 million human beings for whom every day brings additional, sometimes insurmountable, obstacles compared to those faced by others. And these obstacles are there because the ‘others’ see themselves as a population standard, as the base norm for the development of everything: urban infrastructure, architectural design, furniture, household appliances, vehicles of all kinds, kitchen implements, advertising messages.... The result is that this enabling norm crushes the exception, even when it is not such a minority.

For this reason, Revista Credencial wishes to highlight the work of Liliana García, an artist who explores sculptural supports to question that reality with what could be called a ‘categorical subtlety’: a bed that is inconceivable for the human body, as its boards are bent as if they were a mistake; a chair on which it would be painful to sit; a cup that is at once a plate, but serves as neither.... Perhaps the most striking thing about the result is that everything looks good: beautiful, even. However, each object carries a reflexive aggressiveness: they are impossible, inaccessible objects that make us see how those that await us at home are designed for the norm and rarely for the exception: an unnoticed privilege. 

 
García was born in Medellín in 1977. No puedo creer lo que mis ojos ven is a series of works that discuss the above and that have been seen, among others, in the Galería La Cometa, which has offices in Bogotá, Medellín, Madrid and Miami, and which represents the artist from Paisa.