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Amalgama is proud to present

The Fine Line

An exhibition of London-based Peruvian artists exploring the nuances of mark-making, delving into the gestures and bodily expressions that reveal our connection with language beyond mere communication.

Macarena Rojas Osterling & Lizi Sanchez

Tuesday 12 - Sunday 17 March 2024

Cromwell Place, South Kensington, London SW7 2JE

Delving into the extensive legacy of Latin American artists examining the relationship between writing and drawing, Rojas Osterling and Sanchez intricately explore the gestures and bodily expressions underlying mark-making, observing our connection with language beyond mere communication. The artists focus on the movement inherent in the act of writing, questioning its essence and its significance in the human experience.

As Roland Barthes aptly expressed: ‘writing is the hand which bears down and advances or hangs back, always in the same direction'. In their artworks, the viewer discerns the transformative journey of drawing as a form of notation, evolving into landscapes, constellations, and symbols that transcend the meaning provided by text. Immerse yourself in a universe where the boundaries between language and imagery seamlessly blend. These are not puzzles to be solved but rather allegories of human expression - the fine line between the past and present; writing and drawing; movement and communication.

Photo credits: Artworks courtesy of the Artists Macarena Rojas & Lizi Sanchez. Install shots by Sol Aizcorbe. Remaining photos by Jane Soliman & Daniela Galan

Listen to our Podcast: 
A conversation with the artists


Podcast video highlight

ARTWORKS

Filter by Artist

To enquire or request the artists' complete portfolio, please email

Lizi Sanchez, Cadenetas, 2016. Each sculpture has 4 Painted lead loops  31cm x 5cm each

Cadenetas, 2016

Lead and paint

Each sculpture has 4 Painted lead loops 31cm x 5cm each

Lizi Sanchez, Oscuridad protegida 1, 2024. Found 
typed-on carbon copy paper. Displayed in wooden frame lightboxes.

Oscuridad protegida 1, 2023

Found typed-on carbon copy paper. Displayed in wooden frame lightboxes.

30.5cm x 23cm

Lizi Sanchez, Oscuridad protegida 2, 2024. Found 
typed-on carbon copy paper. Displayed in wooden frame lightboxes.

Oscuridad protegida 2, 2023

Found typed-on carbon copy paper. Displayed in wooden frame lightboxes.

30.5cm x 23cm

Lizi Sanchez, Oscuridad protegida 3, 2024. Found 
typed-on carbon copy paper. Displayed in wooden frame lightboxes.

Oscuridad protegida 3, 2023

Found typed-on carbon copy paper. Displayed in wooden frame lightboxes.

30.5cm x 23cm

Lizi Sanchez, Oscuridad protegida 4, 2024. Found 
typed-on carbon copy paper. Displayed in wooden frame lightboxes.

Oscuridad protegida 4, 2024

Found typed-on carbon copy paper. Displayed in wooden frame lightboxes.

30.5cm x 23cm

Lizi Sanchez, Parafrase, 2021. Carbon copy paper & rice paper diptych. 91cm x 170cm each.

Parafrase (la historia se repite), 2021

Carbon copy paper & rice paper diptych

91cm x 170cm each.

Lizi Sanchez, Transcript 12, 2024. Painted stainless steel wire and acrylic mobile. 180cm x 120cm x 80cm approx

Transcript 12, 2024

Painted stainless steel wire and acrylic mobile

180cm x 120cm x 80cm approx

Macarena Rojas Osterling. Como pez en el agua. 2024. Ink on paper. 50 cm x 70 cm plus frame

Como un pez en el agua, 2024

Ink on paper framed in walnut

50cm x 70cm plus frame

Macarena Rojas Osterling. De la serie Juju, II. 2023. Ink on paper. 12 cm x 17 cm. Framed: 27cm x 32 cm

De la Serie Juju, II, 2023

Ink on paper framed in walnut

12cm x 17cm; 27cm x 32cm framed

Macarena Rojas Osterling. De la serie Juju, I. 2023. Ink on paper. 12 cm x 17 cm. Framed: 27cm x 32 cm

De la serie de Juju, I, 2023

Ink on paper framed in walnut

12cm x 17cm; 27cm x 32cm framed

Macarena Rojas Osterling. De la serie Juju, III. 2023. Ink on paper. 12 cm x 17 cm. Framed: 27cm x 32 cm

De la serie de Juju, III, 2023

Ink on paper framed in walnut

12cm x 17cm; 27cm x 32cm framed

Macarena Rojas Osterling. El Cholo Sotil. 2024. Ink on paper. 31 cm x 41 cm plus frame

El Cholo Sotil, 2024

Ink on paper framed in walnut

31cm x 41cm plus frame

Macarena Rojas Osterling. Motomami. 2022. Mixed media on wood. 30 cm x 40 cm.

Motomami, 2022

Mix media on wood panel

30cm x 40cm

Macarena Rojas Osterling. Palm Tree. 2022. Mixed media on paper. 30 cm x 30 cm.

Palm tree, 2022

Mix media on paper framed in walnut

30cm x 30cm plus frame

Macarena Rojas Osterling. Untitled. 2021. Ink on paper. 31 cm x 41 cm plus frame

Untitled II, 2021

Ink on paper framed in walnut

31cm x 41cm plus frame

Macarena Rojas Osterling. Untitled. 2024. Ink on paper. 30 cm x 40 cm plus frame

Untitled, 2024

Ink on paper

30cm x 40cm

Macarena Rojas Osterling. Untitled. 2024. Mixed media on wood. 30 cm x 20 cm.

Untitled, 2024

Mix media on wood panel

30cm x 20cm

To enquire or request the artists' complete portfolio, please email

Artists' bios

Macarena Rojas Osterling
Macarena Rojas Osterling (Lima, 1985). Macarena studied Architecture at the Universidad Peruana de Ciencias Aplicadas and subsequently transferred to the Communications Department, where she graduated in 2009. In 2012 Rojas Osterling completed the General Studies in Photography Program at the International Center of Photography in New York, and in 2017 received her Masters in Fine Arts at The Royal College of Art in London. Macarena’s’ work has been exhibited in Black Box Projects Cromwell Place London (2022), Crisis Galería Lima (2019), Art Lima (2018), Museo AMANO Lima (2018), Camden Arts Centre London (2017), Edinburgh College of Art (2016), Museo de Arte Contemporáneo Lima (2016), ArtBo Bogotá (2016), Museo Nacional de Bellas Artes, Santiago de Chile (2014), Wu Galería (2014-2015), International Center of Photography in New York (2012), Triskelion Arts New York (2013), amongst other public and privately held exhibitions. Macarena lives and works in London
Lizi Sánchez
Lizi Sánchez was born in 1975 in Lima (Peru), and now lives and works in London. She is interested in the communicative power of language. Fracture of various communication systems and codes is a preoccupation in her work. Sánchez is interested in how different processes, contexts and intentions transform the use and meaning of language. She frequently uses material supports from the everyday environment that attract her both for their connotations and their qualities; thus brightness, malleability, translucency, or lightness become an integral part of her work. Sánchez has exhibited in various public and private institutions such as Whitechapel Gallery, Studio Voltaire, Drawing Room London, Walker Art Gallery, Sculpture in the City, Oriel Davies Gallery, ICPNA, among others. Her work appears in 'Remains-Tomorrow: Themes in Contemporary Latin American Abstraction', edited by Cecilia Fajardo Hill (Hatje Cantz, Dec 2022).
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