Ivan Navarro was born in 1972 in Santiago, Chile, where he grew up under the dictatorship of General Augusto Pinochet. From 1991 to 1995 he studied art at the Universidad Catolica de Chile, graduating with a degree in printmaking. In 1997 he traveled to New York for the first time, and has lived and works there ever since.
For the last 10 years he has been working primarily in sculpture based on light. He has been showing his work actively throughout Latin America, the United States and Europe. Navarro’s upcoming and recent exhibitions include: The Whitney Museum at Altria, New York; MOCA, Miami; Witte de With, Rotterdam; SITE Santa Fe, Santa Fe; Roebling Hall, New York; Matucana 100, Santiago; El Centro Cultural Recoleta, Buenos Aires; Art Museum of the Americas, Washington DC; The Hirschorn Museum, Washington DC, Galerie Daniel Templon, Paris; Art Rock Rockefeller plaza, New York; Prague Biennale 2, Prague; Special projects for the 51st Venice Biennale, Venice and for the 2nd Moscow Biennale of Contemporary Art, Moscow.

Back Stage (2006). It is composed of three parts:
A-Blue Sawhorse, B-Red Ladder and C-Yellow Stepladder. Each part is an individual piece and at the same time the three of them together make up a larger installation called “Backstage”.
The basic idea that generated this project was: how to build three different objects using the same method of construction for the three of them.
The historical or artistic references of the construction I used in this project are the work of Gerrit Rietveld and Dan Flavin.
The first artist uses horizontals, verticals (Cartesian system of furniture joinery) and diagonals lines to create very simple and dynamic furniture. At the same time he believed that this was the ideal construction plan in order to mass-produce his new furniture.
The second artist understood that mass-produced objects can be used as an artistic representation of a very radical proposition: that the artwork itself can be dispensable but the art still exists in the idea of its construction.
Combining these two references, I worked on these objects whose functionality has been removed. The pieces are between dangerous electrified sculptures and radiant images where the basic construction principle is highlighted