Ana Mosquera (b. 1983, Caracas, Venezuela) is a mixed-media artist based in Miami and a 2025 resident at Oolite Arts. She received her MFA in Sculpture from Tyler School of Art and Architecture in 2020 and a BArch from Universidad Central de Venezuela in 2015. She is currently working with security patterns extracted from her personal archive of approximately ten years of mobility documents, approaching them not as bureaucratic artifacts but as sites of renegotiation and devotion. 

For Mosquera, devotion is not belief, but a practice of returning and persisting, of seeking continuity in relation, and asking what we do when systems meant to recognize us fail. Across her broader practice, Mosquera has worked through drawing, textile, and installation to explore what translation, reordering, and dysfunctional system design can tell us about the the ongoing negotiation between power and life.

Her recent exhibitions include What’s my Line. Miami Dade Public Library (2026); Transit Memory . Amanda Baker Hall (2026); Carnet to Go at Espacio de Arte Contemporáneo, Montevideo (2023); Tierras Raras (solo) at Sala Mendoza, Caracas (2022). In 2021, she received the Honorable Mention Carmen Cordovez Crespo by HFFA at the 16th edition of the Mendoza Awards in Venezuela. She was also awarded the 2016 National Prize for Young Artists by the Museum of Contemporary Art Zulia, Venezuela.

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Art Statement

When I think of the sea, vast, shifting, resisting permanence, I also wonder why I have always felt anchored to it. Growing up in a valley, the ocean felt like something closer to a phantom limb, one that from across the hills positioned our geographical north and marked the rhythm of our lives. But, how could a distant invisible force shape a place so powerfully?  From this question grew my interest in territory and cartography.

Over time, this phantom sense of direction deepened in me, as I navigated the paper infrastructures that assign us to places and categories. By engaging with materials that hold institutional weight, like ordering systems, security patterns or  bureaucratic formats I explore how something that presents itself as absolute can reveal its own contingency.

Through drawing, installation, and textile, I translate, recontextualize, and re-order these materials — asking not only how such systems fabricate authority, but what remains when they fail, and how continuity might be found outside them.