In her practice, Natalia Armijo explores the possibilities of the image through color, composition, and texture. Drawing is the starting point, not an end itself. She is interested in researching how different elements, materials, and visual resources can converge to produce new compositions, relationships, and ways of reading.
In Why Does Everything Say "SALE"? this exploration begins with an everyday gesture: the tags that mark the price of objects found in stores and traditional shops. Phosphorescent greens, oranges, pinks, and other saturated tones stop serving an exclusively commercial function and become pictorial matter: they overlap, shift, take space, and build works in which color acquires volume and density, a view mediated by the distance from which the composition is seen.
Behind these pieces lies a question about what has no price, and from there, an exploration of what actually determines how much things are worth. Armijo observes the tension between what can be measured, labeled, and put up for sale, and what escapes any figure. The question of price thus becomes an inquiry into value: how it is assigned, exchanged, and recognized in everyday life.
The languages of buying and selling, so present in our surroundings, are transferred here into a visual territory. The signs that inform us of a cost become elements of composition: the work is built from this contemporary language, taking objects that were not conceived to produce art and reorganizing them into a language of its own—immediate, and at the same time open to multiple readings.
The reading of the works changes according to distance. Up close, the numbers appear, the prices, the details of the tag's outline: signs we recognize immediately. As we step back, these elements lose their original function and become integrated into a larger composition: an image made of color, volume, rhythm, and spatial relationship.
Hence, Why Does Everything Say "SALE"? proposes a reflection on what we value and on the ways that value is translated into everyday images and languages. Through an exploration that begins with drawing and moves toward color, texture, and volume, Natalia transforms ordinary elements into the possibility of unpredictable images: compositions that question which things can truly have a fixed price.