Verónica Trujillo was born in Bogotá in 1970 into a family of artists. Her training began at the age of four in the studio of her grandmother, the renowned ceramist Sara Dávila, who taught her to model clay as a form of spiritual and expressive connection. Her grandfather, graphic artist Sergio Trujillo Magnenat, and her father, photographer Sergio Trujillo Dávila, also influenced her visual sensibility, providing a holistic approach to image, stroke, and composition.
From a very young age, Trujillo found her language in ceramics: a creative space mediated not by rational discourses, but by tactile experience, vital impulse, and symbolic freedom. For decades, she has developed a coherent, independent, and rigorous body of work, far removed from market trends and anchored in a profound search for form, femininity, and myth.
She lives and works in the outskirts of the urban enclaves of Bogota, far removed from the city, where each of her pieces is produced entirely by hand. Her process involves direct modeling, slow drying, glazes made by herself, and a careful firing that respects the clay's age. Her work has been recently exhibited in the prestigious San Agustin cloister museum under the curatorship of Maria Belen Saez de Ibarra. Trujillo's works have been acquired by private and institutional collections in Colombia and abroad.
Her work is part of a growing lineage of Latin American artists who, through artisanal, bodily, and spiritual methods, have embraced new paradigms of modernity. Yet, Verónica Trujillo's ceramics are primarily a form of embodied thought: art that emerges from intuition and aesthetic resistance, open to new modes of visual subjectivity.
In 2025, she joined the Elvira Moreno Gallery's representation program, where her work enters into dialogue with the most powerful practices of contemporary Latin American art.
