Born in Mexico City in 1969, Mauricio Alejo’s photographs record everyday objects, often cut or painted, set up in absurd arrangements.

During his career he has demonstrated an intense interest in and a predisposition towards the object; his work deals with the re-signification of forgotten objects that he has rescued from the detritus around us, revealing their aesthetic worth.

Alejo is very much interested in objects that reference childhood and inspire reflection about memory, and the qualities which we associate with such objects due to the contentment we may have felt as a child. As a result his photographs suggest…

Born in Mexico City in 1969, Mauricio Alejo’s photographs record everyday objects, often cut or painted, set up in absurd arrangements.

During his career he has demonstrated an intense interest in and a predisposition towards the object; his work deals with the re-signification of forgotten objects that he has rescued from the detritus around us, revealing their aesthetic worth.

Alejo is very much interested in objects that reference childhood and inspire reflection about memory, and the qualities which we associate with such objects due to the contentment we may have felt as a child. As a result his photographs suggest a certain nostalgia, implying that a better world may exist in our collective imagination rather than in everyday reality.

In 2000 Alejo was awarded a Fullbright Fellowship and since then has been living and working in New York City. His three main solo shows have been at Faleria OMR, Mexico City (2007), Galeria Ramis Barquet, Mexico (2005) and Galeria Ramis Barquet - New York, (2004).  Group exhibitions have been at Bronx Museum of the Arts, New York, Miami Art Central, Museo Nacional Centro de Arte Reina Sofía, Madrid, and the 8th Havana Biennial.

This image graced the cover of the April 2006 issue of Wallpaper*. The sculpture was part of a project between Alejo and the New York-based stylist Michael Reynolds.