In my work, the denunciation of vile colonization is woven together with the possibility of a more solemn humanism, disillusionment and failure, pride and aspirations in a series of images that condense a blend of contradictions confused in beauty, humor, and the uncertain future. More than painted, my work is constructed almost as a worker builds a building. I avoid brushes and the act of mimicking. I craft my oil paintings and use waxes and resins in a way that resembles a mortar similar to concrete or plaster used to erect walls. I almost renounced everything learned in academia. I rely on the knowledge I’ve acquired from trades learned to survive, such as cabinetry, masonry, and building construction, which have helped me reinvent the way I place my own painting on the canvas. In my works, I also use knowledge acquired from traditional graphic design and screen printing to create images. I mainly make use of all the stenciling and masking processes, and complex procedures that are done before applying the paint.

My approach and development of the work also somewhat emulate the way of building a model or creating a study in architecture. All of this allows me to create a diversity of marks not commonly recognized within the usual visual arts.