​After several years working in architecture, I began to apply architectural software into art projects. This allowed me to create quickly, and make multiple versions of one composition by changing its colors and dimensions, with no two printings being exactly alike. However, the final product didn't result from the application of a formula, but was carefully crafted by hand one bit at a time: The brush was replaced by the mouse in an expression of digital craftsmanship.

 

​The visual constructions resulting from my experimentation with the computer demonstrate the intermediate position where I stand between art and architecture, they show an ambiguous halfway point between the flat image and the three-dimensional space.

 

But I consider my work a form of communication, a form of expression outside of the written and verbal. Time and place, the self and the other, history and future, these all play a role in the making of an image, and the work of an artist is his chronicle of the time in which he lives.

Stars & Angels 

2017

 

This is the first series that I made after moving to the United States, it came out as a result of my long walks in Los Angeles, Hollywood and Santa Monica, where I took pictures of what I observed along the way, deranged people, maimed veterans, drug addicts, white and black people, wandering the streets, carrying their belongings in supermarket trolleys, sleeping on trains and sidewalks, using a piece of cardboard as a bed, and a shabby tent as a shelter.

In these visual constructions, pictures of old Hollywood movie stars are deconstructed. In some cases, their faces are wiped out, in others, their silhouettes are outlined with borders, segmenting the composition like territories on a map.

Inhabiting these territories, floating, multiplied, arranged as dancers from a Busby Berkeley choreography, are the sleeping bodies of the homeless.

A Man’s Word 

2018

This is a project I prepared in response to a public call made by Palos Verdes Art Center, for covering the walls of their building's facade, using an artwork that would be printed on adhesive vinyl. Having heard the testimony of Christine Blasey Ford, and remembering that of Anita Hill, I composed this monumental digital collage, where the image of my nude body would be exposed not only to the effects of the print being outside in the street during an entire year, like heat, rain, and vandalism, but also, to extreme, uncalculated exposure and scrutiny. 

A man wearing a suit raises his hand as a sign for swearing, and raises both for being arrested.

Large and colorful question marks open the discussion to passersby.

Expulsion from Paradise

2019

 

I started this project being photographed myself, dancing and posing for the camera with no intention of representation, but with two purposes: On the one hand, I wanted to celebrate my return to dance classes after many years of estrangement, and at the same time, I wanted to use this project to manifest the impact that Michelangelo’s frescoes in the Sistine Chapel had on me some years ago.

Later in the process, which took a year in total, I found that, in some of the photos, my body language could be used to tell a story, and I have identified three characters with whom I built a confessional narrative: the attacker, the attacked, and the savior, spinning altogether within a cycle of rejection and acceptance.