Through natural pigments, tactile works on paper, and sculptural presentations, Johanna Unzueta explores the relationships between material, place, memory, and the physical process of making.
At the Whitney Biennial 2026, Johanna Unzueta presents a body of work that quietly moves between drawing and sculpture while maintaining a deep connection to material traditions.
Born in Santiago, Chile, and based between Berlin and New York, Unzueta creates works that emphasize the physical qualities of materials and the experiences attached to them.
Her works on paper are created using natural pigments, including indigo she first encountered in Guatemala and dyes extracted from berries she discovered during the pandemic.
Natural Pigments and Place
Color in Unzueta’s work is closely connected to material and experience.
Rather than treating pigment simply as a visual choice, she works with colors derived from natural sources.
Indigo and berry-based dyes connect the drawings to particular places and moments in the artist’s life.
The materials therefore become part of the story of each work.
Color carries not only visual information but also associations with geography, memory, experimentation, and the process of making.
Drawing as a Material Experience
Unzueta’s drawings have a tactile, almost textile-like quality.
Surface and structure become as important as the images themselves.
The works encourage viewers to notice subtle variations in pigment, texture, repetition, and form rather than approaching drawing purely as an image contained within a flat sheet of paper.
This attention to material gives the drawings a physical presence that begins to move them toward sculpture.
From Drawing to Sculpture
The way Unzueta displays the works further challenges the traditional distinction between two-dimensional and three-dimensional art.
For their presentation in space, she draws inspiration from simple tabletop signs.
Instead of hanging each drawing conventionally against a wall, the works are able to stand within the gallery and can be viewed from both sides.
This seemingly simple decision changes the viewer’s relationship with them.
The audience can move around the work, experiencing the paper as an object occupying physical space rather than simply as a surface carrying an image.
Material, Memory, and Making
Unzueta’s practice emphasizes the relationship between the artist and the materials she uses.
The natural pigments connect the work to specific environments and experiences, while the tactile surfaces reveal the importance of process.
Nothing feels disconnected from the act of making.
Paper, pigment, color, structure, and presentation work together, allowing the boundaries between drawing, textile, sculpture, and installation to become increasingly fluid.
Johanna Unzueta at the Whitney Biennial 2026
Within the Whitney Museum of American Art, Unzueta’s work offers a quieter encounter—one built around careful observation and attention to material.
Rather than demanding immediate interpretation, the works reward time.
Their colors, surfaces, structures, and physical presence gradually reveal themselves as viewers move around them and experience them from different perspectives.
At the Whitney Biennial 2026, Johanna Unzueta transforms drawing into a spatial and material experience, creating works where natural pigment, memory, place, color, and form unfold through time and touch.
Explore the Complete Tarik Talk Whitney Biennial 2026 Series
Tarik Talk created dedicated coverage of every artist featured in the Whitney Biennial 2026, with individual episodes exploring the artists, artworks, histories, and ideas shaping this edition of the Biennial.
The complete series—including videos and podcast episodes—is available across Tarik Talk’s podcast streaming platforms and social media platforms, offering a closer look at every artist featured in the Whitney Biennial 2026.
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