smoke signals (the trans-physics we knew about), 2011-12
Mixed media and gold leaf on paper
51.75 x 100 inches
131.4 x 254 cm
untitled (call and response), 2012
Cast cement
14 x 19.75 x 2.75 inches
35.6 x 50.2 x 7 cm
Edition of 2
untitled (tell me that I'm dreaming), 2012
Cast cement, stones
10 x 15 x 6.5 inches
25.4 x 38.1 x 16.5 cm
Edition of 2
icarus (kuntur), 2012
Feather, brass chains, wire, stone, string, hair, bubblegum, thumbtacks
65 x 35 x 29 inches
165.1 x 88.9 x 73.7 cm
vessels (somehow chosen), 2011
Polaroid 600 prints
Suite of 7
4.25 x 24.25 inches
10.8 x 61.6 cm
istwa (the trans-physics that we knew about), 2011-2012
Oil, acrylic, graphite, gold leaf and collage on paper
58 x 60 inches
147.3 x 152.4 cm
extended improvisations in time (a.b.), 2011-12
Mixed media and gold leaf on paper
51 x 95 inches
129.5 x 241.3 cm
untitled (endless...4-p.young), 2013
Reclaimed lamp shades, metal rod, light bulbs
Approx. 185 x 24 x 24 inches
469.9 x 61 x 61 cm
untitled (casa de carton), 2012
Cardboard and collage
4.5 x 9 x 6.125 inches
11.4 x 22.9 x 15.6 cm
untitled (exploration in space and time after Arthur C. Clarke), 2013
Industrial rubber, oil stick
21.25 x 8 x 3 inches
54 x 20.3 x 7.6 cm
untitled (cosmos), 2013
sandpaper, bottle caps, cardboard, vintage audio reel
3 x 29.5 x 20 inches
7.6 x 74.9 x 50.8 cm
untitled (crowns), 2013
Reclaimed sunglass lenses, wire, glue
2.25 x 14.5 x 14.25 inches
5.7 x 36.8 x 36.2 cm
untitled (our arrows and shields), 2012
Cast cement
10.5 x 20.5 x 5.5 inches
26.7 x 52.1 x 14 cm
Edition of 2
untitled (cloud), 2013
Deployed safety restraint system
Approximately 24 x 15 inches
61 x 38.1 cm
untitled (portals), 2012
Cast cement
19 x 13.25 x 6 inches
48.3 x 33.7 x 15.2 cm
Edition of 2
untitled (echo me, echo me, after S. Sanchez), 2013
Stones, wire, tape
16.25 x 15.25 x 1.5 inches
41.3 x 38.7 x 3.8 cm
flossing, 2013
Mixed media on paper in plastic bags, floss, thumbtacks
Installation variable
league of nation, 2013
Reclaimed hair bands, wire hanger 
4 x 15 x 12.5 inches
10.2 x 38.1 x 31.8 cm
echoes, 2013
Reclaimed cardboard, white out, collage
12 x 13.5 x 5 inches
30.5 x 34.3 x 12.7 cm
untitled (puma), 2013
gold leaf on paper, collage
15.875 x 12 inches
40.3 x 30.5 cm
William Cordova
yawar mallku: temporal landscapes
March 7 - April 6, 2013
Sikkema Jenkins & Co. is pleased to present William Cordova’s second solo show with the gallery, entitled yawar mallku: temporal landscapes. Cordova has produced a series of works that focus on reframing history – making the invisible visible through the prism of art.
Utilizing drawing, photography, and sculpture, Cordova creates parallels between the Diasporas of the Americans through the language and visual forms of abstraction. The work temporal landscapes (pa’ y.mishima, e.danticat y t.martin) is influenced by the Land Art movement of the 1960s and early 1970s. It references Land Art’s resistance to the logic of consumerist art and the interest in reconnecting to ancient geometric principals and the pragmatic use of materials.
The notion of translation is key in Cordova’s work. The shifting from English, Quechua, Spanish, and even Creole in his titles parallels the shifts, turns and cuts made in his constructions. References similarly have an impact on the blur of original meanings with the creation of new meanings.
temporal landscapes (pa’ y.mishima, e.danticat y t.martin) consists of a makeshift mini-screening room assembled with reclaimed wood, vinyl record monologue, and slide projector with an image that references architecture, spirituality, the magical, science fiction, textiles and modernism found within African, Andean, and Asian Diasporas. These threads evoke meditative qualities that speak to the complexity of a trans-cultural phenomenon, more often common than different, that we all share in one capacity or another. In doing so Cordova ultimately achieves an amalgamation while apparently moving through seemingly disjunctive references. And what better location for the fusion of time, space, history, memory, and fiction than the narrative platform of science fiction – not only in its Hollywood representation, but also in the conceptualization of Afro-Futurism in Sun Ra’s film Space Is the Place (1972), which uses science fiction as a symbol of resistance; or with the quotation from the science fiction writer H. G. Wells, “Human history is in essence a history of ideas” - both inspirations for the artist.
The wood used in the sculpture comes from The Philippines, Peru, Brazil, Puerto Rico and Ghana so as to refer to the geographical locations of various Diasporas.
The exhibition will also include ephemeral sculptures, Polaroid diptychs and untitled (repositories), a suite of drawings that explores the overlapping of resistance movements, landscape and dislocation, from both the past and the present tenses, exploring the psychological and (often overlooked) context of imagination.
A published essay by artist/designer Ernesto Oroza on William Cordova's practice will accompany the exhibition. 
William Cordova – born in Lima, Peru – lives and works in Lima, Miami and New York. He graduated with a BFA from The School of the Art Institute of Chicago in 1996 and went on to earn an MFA from Yale University in 2004. Recent solo exhibitions of his work include smoke signals: viviendo pa’ la ciudad at the Yerba Buena Center for the Arts in San Francisco (2012) and yawar mallku (royalty, abduction & exile) at La Conservera in Murcia, Spain (2011), his first solo exhibition in Europe. His work is in such public collections as the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Harvard University, Cambridge, Massachusetts; Yale Art Gallery, New Haven; Museo de Arte de Lima; Ellipse Foundation, Cascais, Portugal; Museum of Contemporary Art, Miami; and La Casa de las Americas, Havana, Cuba; among others. He has held numerous residencies and is currently a fellow at the American Academy in Berlin.