Laura Buitrago’s Solo Show: Thank You, Shadow, For Now I Am Free
I met visual artist Laura Buitrago at the beginning of her residency at the Art & History Museums of Maitland, Florida. One year later, Laura premiered her first solo show at CityArts Gallery in downtown Orlando. We had a conversation about her rapidly ascending journey and how the Orlando audience responded to her genuine introspection through visual and performance art.
Laura Buitrago's Premiere Solo Show: THANK YOU, SHADOW, FOR NOW I AM FREE
Maria Guerrero: This is a show of many “firsts” for you, walk us through this path of milestones, the relationship to the flow of your exhibition, and your process envisioning the show as a multi-media immersive, and performative experience.
It has indeed been a show of many "firsts". It is technically my first solo show, but I do not feel comfortable referring to it as one since it was made possible thanks to a huge community effort. As you may already know, the work in this exhibit orbits around the theme of my relationship with the Shadow.
The first milestone for me was to realize that in order to make a show about surrendering and the beauty on the other side of diving into the discomfort, I had to honor that message in the process. I had to put to use all of the tools I had acquired to trust, let go, and not control everything. That realization allowed me to dive into sculpting and mold-making for the first time. It also allowed me to open up and put this precious project in the hands of others that felt aligned with the message. This ambitious undertaking would not have been possible without delegating and the insurmountable support that allowed me to wear many hats- creative direction, production, design, sound engineering, project management, accounting, grant writing, storytelling, installation and textile art, on top of my usual painter self.
Ever since I started painting the Acknowledgment Collection (the paintings inside the path), I always envisioned them being presented in an immersive way. I felt like the emotions were so intense, that I wanted people to experience each part as if they were living inside my body. This is why the lighting in each space, as well as the sound, the interactive and even the change of energy with the performance played key roles in emphasizing the epicenter of each painting. The performance that Michelina Moen (dancer), Cristina Ramos (dancer) and Kylee Taylor (sound and light) brought to life was an improvised interpretation of the storytelling behind the collection.
Maria: Tell us about your personal experience on opening night.
Laura: The overarching feeling was an overwhelming sense of pride for the people in my life that helped make this ambitious project possible. What magic can be brought to life when a community is fueled by love and inspiration.
“It was important to me that my family and close friends walk through the experience before the large crowd arrived. That moment was incredibly special, as I was able to share a vision that only lived inside my mind and heart for years, and put it out there for them to see and understand me better. It felt very beautiful.”
When the crowd started coming in, I wasn't expecting how many people would be so deeply touched by the experience. To tell you the truth, I do not like to carry expectations- I just pour my heart into what I do and I trust the way it is meant to go. All of the love that was poured into making this immersive experience possible was palpable at the opening reception. It was felt, and people made sure to tell me. I am not sure how my heart fits inside my chest.
The performance was a complete surprise for me, as we only met a few times to make sure that our messages aligned. It was important to me that the perspective of the Shadow being a guide rather than a hindrance was interpreted correctly. I had seen Michelina perform many years ago, and I trusted the team fully. I did not want to interfere with their creative process or expression. Thanks to that, I received one of the most touching gifts in return. Seeing such a personal journey that I have written, painted, sculpted, and now have done installations about, be interpreted through movement was a dream I did not know I had. The expression in their eyes, faces, bodies, the interaction, the lighting, music...everything, was absolutely perfect. I am so profoundly grateful.
Maria: The show as a whole is charged with emotional, philosophical, and artistic exploration, with visible and almost invisible subtle details that creates a multi-layered expression. Tell us about the details you’d like people to know that may go unnoticed.
Laura: What a beautiful question. Thank you for giving me the opportunity to shed light on these details:
The umbilical cord. The umbilical cord starts behind the painting of the first room, An Invitation- symbolism of the underground truth that was happening inside me in that moment of isolation. The cord then becomes entangled in the second room, referred to as the Womb Room, mirroring the confusion expressed in Acknowledgment; a painting about the moment I realized I am in charge of parenting that neglected space. Then, if you notice, the umbilical cord continues on to the third room in a harmonious flow of connection and coherence. It symbolizes the moment of calm, mothering, and acceptance to parent that space, as shown in that painting, “No Such Thing as Demons”.
The red phones. There are two red phones in the fourth room. I chose red so that their cords would be cohesive with the umbilical cord installation in the previous rooms. People may have noticed that once they picked up the phone, one was labeled Shadow and the other Human. The Shadow recording was a script I had written for different friends to read out loud. It was important to me that different voices were heard so people could relate. The other phone was an example of the inner dialogue I have when trying to understand myself in my Shadow- it is my voice. Both recordings end with "I am you, I am your mirror, and I am here for you".
The music. The music was intentionally chosen, as was everything in the show. I wanted to not only make sure that each sound honored each room, but also that the sound people were leaving behind was cohesive with the one they were experiencing, as well as the one they could feel coming in. It was also important to me that all sounds sounded like one beautiful harmony when played at once. If you play close attention, the pattern is as follows: harmony, beat, harmony, beat.
Organizing them this way made me feel that they would have less of a chance of clashing. I have never played with sounds this way, so it felt magical and surprisingly intuitive. The first room is a slowed and reverberated version of Sigur Rós - Untitled #9 [Smáskífa 1] - I chose this song because it feels like a mix of agony and hope, of the softness of a deep ache, and almost holiness of the process of tending to it. I encourage you to listen to it closely; it will touch your heart. It feels other-wordly.
There is a heartbeat sound from the next room being felt in the background, which could intensify the feeling of solitude if interpreted as your own heartbeat. Once you step into the second room (Womb Room), the sound and vibration of an adult beating heart- not the fetus, is felt strongly.
“I wanted the person to experience feeling inside the womb listening to the mother’s heartbeat, being held and supported in a safe space. ”
This would also mean listening to our own heartbeat as we hold that space. In that room, you can hear the ache that is being left behind with Sigur Rós, and the hope that is being foreshadowed through the melody in the third room, almost sounding like a lullaby. The song being Faith Hymn by Beautiful Chorus, a local chorus. It feels motherly, caring, gentle as we accept and welcome the tending of the Shadow. I left the fourth room nestled between the sounds of rooms 3 and 5, between the transformative love of a parent, and the imminent rhythm of stepping into another dimension. The painting in room four has a mural surrounding it, as if the painting were melting away into another reality. The only sounds in this room were the voices in the phones, as I felt that the melodies that surrounded it hugged that space perfectly, especially with the repetition of the sound that would be heightened in the next room with the projection of a galaxy. I wanted people to feel like they were stepping into a portal upon accepting their entirety of being.
Laura Buitrago. Exhibition detail. THANK YOU, SHADOW, FOR NOW I AM FREE
The Shadow projection. These videos were recorded in the offices of AOA- they were incredibly generous in offering their recording studio, greenscreen, lights, and talented team to bring this and a majority of the show to life. Like the vast part of the production, I did not want to overly plan or micromanage, and it required a lot of trust. I did not know who would volunteer to be the Shadow, but I trusted that the people that needed to be there would. I ideally wanted a variety of people so that guests could have more chances to feel resonance. It was important for me to honor each energy and personality of the volunteer, because our Shadow is multifaceted- sometimes a bit more shy, other times more assertive, melancholic, energetic, tender.
The self-portrait. If you notice, there is only one figure in the entire show with hair. The rest of the figures throughout the show are bald, and they are meant to symbolize a generalized human and soul experience, rather than a punctual individual one. I decided to do a self-portrait to show my own vulnerability in a way that was directly correlated to my identity rather than a generalized sentiment.
“I wrote a letter to myself in the background as an offering. I wanted the expression on my face to symbolize an acceptance of the vulnerability of being so exposed. ”
The position and expression is intentionally made to feel as if someone walked into the room and caught me in a moment that was only meant for me. It was important to me that the face expressed acceptance, welcoming, and a tinge of defiance in honoring a tender space, reminding us that vulnerability exists within each of us and we do not need to hold shame. The intimate moment I was "caught" doing in the painting was connecting with my light and love in a moment of deep darkness. It is titled Recordando which translates to "remembering", in which I refer to the remembering of all that we are.
The performance. People were surprised to hear that the unforgettable performances during the opening reception were improvised. I met with performers Michelina Moen and Cristina Ramos and their lighting and sound designer, Kylee Taylor only two times while planning the show. My only request was that they honor the message of the wisdom and freedom of the Shadow rather than interpreting it as a villain. They took it upon themselves to study the collection and organically interpret it through one of the most touching performances I have ever witnessed.
Maria: What did you learn about yourself and others during this past year planning this show?
The main thing would be the importance of not limiting myself. I could've easily stopped all of this from happening had I focused on all of the obstacles and the "impossibility" of it all.
“The moment I opened my heart and arms, and trusted, the support came flooding in. ”
I truly believe that when an intention is aligned with our hearts, miracles happen to support us in the process. Things flow when we stop trying to control and stay diligent.
I also think that watching everything come to fruition served as a beautiful testament that we are all deserving of support. I welcomed and honored the support I received, and I hope that the humans that dedicated their time were able to believe that for themselves, as well. They have found a forever friend in me.
Laura Buitrago. Exhibition detail. THANK YOU, SHADOW, FOR NOW I AM FREE
Maria: In addition to her impeccable work ethics, Laura's charisma drew in support from many. How was this show made possible?
Laura: This show was possible thanks to a huge community effort. Of course, to Barbara Heartly for seeing the potential in my vision and offering me the gorgeous space that is the Signature Gallery at CityArts, and for Teagan Carregal for always being so responsive with anything gallery-related. Of course, I am deeply grateful for United Arts of Central Florida, an organization that helped make the majority of the show possible by awarding me the Individual Artist Grant. This was a very big moment for me, one that allowed the dream to become a lot more tangible- I had a large part of the funding!
In addition, what AOA and the love of the people that work there did for the exhibit is something that is very hard to put into words. Tom Acomb is a man with a huge heart that prioritizes the intention he places behind this wonderful local company he has helped bring to life. When I spoke about miracles in the last answer, AOA is a large part of that. I had an entire team that was committed to help me bring this vision to life- from giving me the space and immeasurable support from her shop—Amara Freshour, to logistics and theatre set experience—Stephanie Nimick, coordination—Nick Karafilis, lighting and sound production—Andrew Bean, to carpentry and construction—Fabiana Sosa, to organizing and planning install—Thrisha Joseph, to video and audio recording and production—Lindsay Valentine, to the volunteers that showed up to film The Shadow—Aracelys Martinez, Nick Hammond, Ellie Matthews, Leila Savage.
Not to mention the support from old and new friends, and family that also lovingly dedicated so much time and effort: Erica Labad for her generosity and talent in taking photographs of my paintings, Angel Rodriguez who brought to life the wonderful projection that everyone fell in love with, Alex Alvarez for your support in teaching me the basics of molding and your physical time and effort during the arduous beginning stages of the sculpture. Eddie Duarte from La Casita Studios for your talent and passion in making the promo videos for the show.
Bobby Wesley, Estefania Herrera, Evrice Cornellius, Fernanda Balbontin, Jennifer Cronauer, Cristina Ramos, Ivan Riascos, Ana Cristina, Myriamcita, for your unwavering support and willingness to lend a hand with so much love and intention.
My family- my mom, dad, sister, aunt, that spent endless hours painting those gorgeous shadows that brought so much to the show.
Kylee Taylor for her generosity and sharing her incredible talent with light and sound production for the very touching performance. Michelina Moen and Cristina Ramos- for pouring their heart and souls into performances mirroring the collection- it brought many of us to tears.
Laura Buitrago. Exhibition detail. THANK YOU, SHADOW, FOR NOW I AM FREE
Maria: What is next for Laura Buitrago?
Laura: Ah, this question after finishing such a big endeavor is a tough one! Right now, I am taking in the exhibit. I am savoring every second of the three weeks that this wonderful gift is giving me every day. I visit it often, as it feels like an extension of a home for my inner world. I find that it is important to be able to pause and be present instead of always moving onto the next thing without savoring the fruit of our labor.
What I do see for my future is a lot more exploration of what this show has inspired me to do more of- textile work, installations, sculpting, sounds, anything that feels more tangible than painting at the moment. Maybe a mix of all of it. I feel fueled to push my boundaries and experiment, I have a strong pull towards defying my own limits and continuing the curiosity of thinking outside the box. And of course, trusting where that takes me◾
Published December 8, 2025 by Women in the Arts, Inc.