A Sensuality Reversed.


The capture, movement and disappearance of lost moments are the themes at the base of both my approach and of my artistic vocabulary.


During the last decade of my work, my approach centered around the constant search for the relationship between these seemingly opposite subjects. These opposites have constantly fed my desire to experiment and to, in some way, fill my work with a charge of sensuality. The style results from the confrontation between action and substance.


My research in plastic examines the characteristics and natural resources of the region where I live. I use natural materials available at my disposal from the very soil I live on. In the case of my native town, located in the Mexican semi-desert, I try to use materials such as beeswax from the stingless Melipona bee, mine tailings and salt, along with natural pigments such as iron oxide, ash or carbon black. I chose these materials for their plastic and aesthetic qualities. Fire and wax provide me with both the ingredient and the technique to master them.


In the same way that, on seeing splashes and footprints, we can detect the initial state of a puddle when someone has passed by; in my work, I try to manipulate these traces in several layers, overlapping each other within the canvas.


The resulting palimpsest consists of layers inspired by their time, their movement, or maybe simply forgotten beneath other layers. All of this allows me to uncover or hide the tracks that we see through their veils. It is an attempt to metabolize the time of each layer, in which we can discover its past.


This is sensitivity turned on its head; a reverse sensuality...