Nathalie Alfonso

(b. 1987, Bogota, Colombia) explores the body, memory, ephemerality, landscape, visibility, and invisibility through line, drawing, installation, video, and performance. Her works arise from exploring her physical limits and delve into her personal strokes and marks. Alfonso holds a Master’s in Fine Arts from Southern Methodist University in Dallas, TX, and a Bachelor’s in Fine Arts from Florida International University in Miami, FL.

Her exhibitions include The Frank Gallery, NSU Art Museum Fort Lauderdale, Dimensions Variable, Art and Culture Center Hollywood, The Projects – Fat Village, Sweet Pass Sculpture Park, Marymount University, and the Modern Art Museum of Fort Worth. Alfonso received the South Florida Cultural Consortium award in 2020. She has also been selected for residency programs, including The Anderson Ranch, Atlantic Center for the Arts, Kinosaito Art Center, R.A.R.O Bogota, and MASS MoCA.

Alfonso has been nominated for the Cultural Joan Mitchell Fellowship in 2021, for The United States Artist Fellowship for 2023-2024.

Nathalie was the winner of the 2025 Orlando Museum of Art Florida Prize in Contemporary Art.

She lives and works in South Florida.

  • Alfonso's art practice is deeply influenced by her background in extreme physical training, including nine years of Olympic speed walking preparation. This intense regimen instilled a solid connection for order and repetition, a theme that persisted as she moved to the US and worked in various labor roles. This experience led her to reflect on the hidden aspects of labor despite its visible results, which she then incorporated into her art. Mainly, she explores how the trajectory of lines in her work relates to her body's movements and emotional control, reflecting her obsession with efficiency and progress from her athletic past.

    Concepts of invisibility and visibility are central to Alfonso's artistic approach, shaping her development of drawings, installations, performances, and videos. She investigates hidden structures within walls using scans and X-ray-like drawings, offering viewers new perspectives beyond surface appearances. This pursuit of revealing hidden truths extends to intensifying physical presence through her use of lines, showcasing their pivotal role in her work as they reflect her muscle memory and inner autopilot.

    In Interval—O, Suspended, Alfonso explores the invisible through the construction of a line referencing a horizon in motion and sourcing color from a landscape at dusk. Weaving itself through walls, the work resists restriction, moving beyond prescribed confinement and creating its own path and intersections with space. The accompanying editioned silkscreen prints become a record and a reflection of the invisible ecosystems at work in landscapes that surround us that often go unseen.

    In her LineScape series, Alfonso moves away from her previous monochromatic style and incorporates colored drawings. This change stems from her experiences in nature, mainly biking through the Florida Everglades, where she encountered intricate life-supporting frameworks within floral systems. This exploration prompts more profound questions about life sustainability across species, enriching the narrative embedded in her art.

  • Interval—O, Suspended, 2025

    site-specific line installation

  • Interval—O, Suspended, 2025

    site-specific line installation

  • Interval—O, Suspended, 2025

    site-specific line installation details

  • Interval—O, Suspended, 2025

    site-specific line installation details

  • LineScape—Spatterdock Yellow Pond Lily XIV, 2023

    Soft pastel on archival paper, mounted on wood panel