“Art Lovers” is a series by the artist Magola Moreno that simulates the stereotyped context of social journalism through couples whose identity is forged through crafted poses and their possessions, in this case, of a work of art. Her seaters come from her most immediate environment and studio place, the small town of Pueblo Bello, a municipality located in the Sierra Nevada de Santa Marta in Colombia surrounded by two indigenous communities, the Arahuacas and Nabusimakes. Despite being an isolated artist due to her geographical location, her “Art Lovers” series addresses a current and trending international theme where every day intimate spaces expose the aspirations of a racial and socially stratified country in an idealized situations that aim to balance the social forces in tension. Her work is based on the principles of the physician, philosopher, revolutionary militant and French-Martinican writer Frantz Fanon, and the ideas on racialization of Michael Foucault, both leaders on Afro identity arising from the emancipatory ideals in France in the 1960’s taking inspiration from the manifesto "La Negritude" by Aimee Cesar in 1935. In pictorial terms hers is a reflection from painting on painting itself revealing courage, strength and autonomy in her own terms.

“It has been written that in my “Art Lovers” series I simulate the stereotyped context of social journalism through couples whose identity is forged by their possession, yet, my inspiration comes from those who make these portraits possible, first the art collectors, whose passion matches the artist’s they collect and reflects upon the drive that fuels the art market, the artworks depicted are of those artists I consider the iconic ones in the art industry” in this one, Magola Moreno places Andy Warhol’s “Flowers” in their wall as one of the most iconic and recognizable of his images, a series created between 1964-65 and the first of his apolitical statements of the decade as well as one of the most ubiquitous flowers in the Colombian country. The dress of the seater is a strong reference first brought to light by the Uruguayan artist Joaquin Torres Garcia under the statement: “Our North is the South” represented by an inverted map of America inviting us to re think our global socio political position challenging the prevalent hegemonies accentuated by its cartographic representation. The message is clear.