THE CENTRAL OPERATION OF THIS PRACTICE IS DISPLACEMENT — NOT AS A BIOGRAPHICAL CONDITION, BUT AS A FORMAL METHOD. ELEMENTS ARE SYSTEMATICALLY MOVED FROM WHERE THEY BELONG: BULLETS BECOME CYMBALS, COINS BECOME WEAPONS, A PROTEST BECOMES A MECHANISM, A NATIONAL ANTHEM IS REBUILT FROM THE SOUND OF SLAPS. THE DISPLACEMENT FOLLOWS THE INTERNAL LOGIC OF EACH SYSTEM UNTIL THAT LOGIC BECOMES VISIBLE — OR COLLAPSES INTO ABSURDITY.
MATERIALS ARE CHOSEN FOR THEIR STRUCTURAL RELATIONSHIP TO THE SUBJECT, NOT THEIR SYMBOLIC LEGIBILITY. LEAD THAT CANNOT RESONATE, COINS MELTED INTO WEAPONS, POTS AUTOMATED BEYOND THEIR HUMAN CONTEXT — EACH MATERIAL CARRIES A SPECIFIC INCAPACITY OR DISPLACEMENT THAT CONSTITUTES THE WORK'S ARGUMENT. THE OBJECT DOES NOT ILLUSTRATE A CONDITION. IT EMBODIES THE CONSEQUENCE OF ONE.
SEVERAL WORKS CONSTRUCT SITUATIONS IN WHICH THE VIEWER MUST PERFORM — PHYSICALLY, WITH EFFORT AND DURATION — WHAT OTHERS HAVE HAD NO CHOICE BUT TO ENDURE. ROWING A DISTANCE THAT MIGRANTS CROSS BY SEA. MOVING THROUGH ARCHITECTURE ENGINEERED TO CONSTRAIN. THE BODY BECOMES THE UNIT OF MEASUREMENT. THE DISTANCE BETWEEN PERFORMING A CONDITION AND HAVING NO ALTERNATIVE TO IT IS NOT BRIDGED. IT IS HELD OPEN.
SOUND AND TIME ARE NOT ATMOSPHERIC ELEMENTS BUT STRUCTURAL ONES. REPETITION EMPTIES A GESTURE OF ITS URGENCY. SILENCE HOLDS WHAT VIOLENCE LEFT BEHIND. DELAY REVEALS HOW IMAGES OF ART ARRIVE — NOT AS ORIGINALS BUT AS WHAT CIRCULATES IN THEIR PLACE. THESE ARE NOT AESTHETIC DECISIONS. THEY ARE THE FORM THAT SPECIFIC ARGUMENTS REQUIRE.
THE ARCHIVE APPEARS IN THIS PRACTICE NOT AS A SOURCE BUT AS A SYSTEM OF CONTROL. WHAT IS RECORDED, ERASED, AND MADE LEGIBLE IS ALREADY A POLITICAL OPERATION. PERSONAL TESTIMONY, FOUND FOOTAGE, HISTORICAL EVENTS — THESE ARE NOT TREATED AS EVIDENCE BUT AS OBJECTS WHOSE FORMAT IS PART OF WHAT NEEDS TO BE EXAMINED. THE QUESTION IS NOT WHAT THE ARCHIVE CONTAINS. IT IS WHO DECIDES WHAT CAN BE ARCHIVED.
IRONY FUNCTIONS IN THIS WORK AS AN ANALYTICAL TOOL — A WAY OF REMAINING PRECISE WITHIN SYSTEMS BUILT ON DISTORTION. IT IS NOT RHETORICAL DISTANCE OR AESTHETIC DETACHMENT. IT IS THE MOST ACCURATE METHOD AVAILABLE FOR DESCRIBING CONTRADICTIONS THAT EARNEST REPRESENTATION WOULD SMOOTH OVER. FOR SOMEONE FORMED IN COLOMBIA, MEXICO, ARGENTINA AND BRAZIL, IT IS ALSO A SURVIVAL TECHNIQUE. THE TWO FUNCTIONS ARE NOT SEPARATE.
THIS PRACTICE HAS DEVELOPED ACROSS COLOMBIA, MEXICO, UGANDA, ARGENTINA, BRAZIL, AND ITALY — CONTEXTS THAT ARE NOT INTERCHANGEABLE AND THAT HAVE EACH IMPOSED SPECIFIC CONSTRAINTS ON INDIVIDUAL WORKS. THE QUESTION IS NOT WHERE THE WORK IS MADE. IT IS WHAT EACH PLACE DEMANDS OF AN OBJECT, A DURATION, A MATERIAL. THE WORK DOES NOT APPLY A PORTABLE CRITICAL FRAMEWORK TO DIFFERENT TERRITORIES. IT LISTENS TO WHAT EACH TERRITORY MAKES UNAVOIDABLE.
Bio
Education
Master's degree in Visual Arts, National Autonomous University of Mexico (UNAM) · SOMA educational program, Mexico City · Artist Program, Torcuato Di Tella University, Buenos Aires · Capacete, Rio de Janeiro.
Shows
- ArteCámara, ArtBo Bogotá, Colombia · 2025
- MuBAQ – Museo dei Bambini de L'Aquila Italy · 2024
- Palazzo Lucarini Umbria, Italy · 2023
- Museo Nacional de Bellas Artes de Neuquén Argentina · 2019
- Galeria Vermelho São Paulo, Brazil · 2018
- Casa del Bicentenario Buenos Aires, Argentina · 2018
- Museo Nacional de Arte La Paz, Bolivia · 2017
- Museo Tamayo de Arte Contemporáneo Mexico City · 2017
- Museo de Arte Contemporáneo de Tamaulipas Matamoros, Mexico · 2015
- Museo de Arte Moderno de Cartagena Colombia · 2014
- Ex Teresa Arte Actual Mexico City · 2014
- Museo de Arte Moderno de Bogotá Colombia · 2013
- Museo de Arte Contemporáneo de Santa Cruz de la Sierra Bolivia · 2012
- Museo de Antioquia Medellín, Colombia · 2010
Residencies
- UNIDEE, Fondazione Pistoletto Cittadellarte Biella, Italy · 2026
- Barda del Desierto Río Negro, Argentina · 2019
- Kiosko Santa Cruz de la Sierra, Bolivia · 2017
- 32° East Ugandan Arts Trust Kampala, Uganda · 2016
- Nordic Artists' Centre Dale Norway · 2015
- TEOR/éTica San José, Costa Rica · 2014