Ana Mosquera (b. 1983, Caracas, Venezuela) is a Miami-based artist working across drawing, textile and installation through acts of translation and reordering, asking what happens when the systems meant to recognize us fail. She holds an MFA in Sculpture from Tyler School of Art and Architecture, USA (2020) a BArch in Architecture and Urbanism from Universidad Central de Venezuela VZLA (2015) a BFA (Hons) Photography and Media Arts from University of Creative Arts, UK (2005). She is currently a resident at Oolite Arts.

Recent exhibitions include Sites of Self, curated by René Morales, Oolite Arts, Miami (2026); Transit Memory, Amanda Baker Hall, Miami (2026); Carnet to Go, Espacio de Arte Contemporáneo, Montevideo (2023); and Tierras Raras (solo), Sala Mendoza, Caracas (2022). She received the Carmen Cordovez Crespo Honorable Mention at the 16th Mendoza Awards (2021) and the National Prize for Young Artists from the Museum of Contemporary Art Zulia, Venezuela (2016).

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Art Statement

Growing up in a basin valley with the Caribbean anchored just beyond the hills was the single accident that provided me with a sense of orientation bound north, to the sea. And with it came an image of a “phantom sea”, a distant force holding not only the geographic north but also the structure and rhythm of life. This image became stronger when I left my valley and found myself looking for a sea that was no longer bound to the same place. From this experience of disorientation came the questions that press my work today: how is life organized, what counts as “us”, and who decides? First I looked for answers in territories and built space, then in the architectures of relation and bureaucracy that produce political membership.

In my current body of work, Objects of Devotion, I extract security patterns from the mobility documents I have needed over the past ten years — passports, licenses, visas, notices, and requests. Operating almost like a forger but with the persistence of the devout, I reproduce the state's graphic language, redrawing each pattern and slowly compiling a personal archive, which I use as the source material for my own drawings and installations.

These materials interest me because they present themselves as absolute, and yet the power that licenses them is contingent. That contingency is, for me, also an opening: the life that authority binds and claims to underwrite persists in shaping the world without it, like the invisible force of the sea that shaped my valley from beyond the hills.