Installation —drawings, video, found objects— 2016-2018
This project explores through my family history the political paralelism between Spain and Guatemala during the 20th century, with their respective wars and post-wars.
The thread for this exploration is given by the madness and delirium.The approach of this political history was made as a victim and as a victimizer, having in mind how easy is to go from one side to the other and the terrible and corrosive apathy from the society.
wonderful moments of art and friendship
Lenticular print and video, 4:25, 2017
The art world, its actors, managers, connections, favors, jealousy, apathy ... create a complex framework in which development can be dangerous. Through one of the most recognized fighting videogame franchises, one of the most sadistic and friendliest actions is illustrated at the same time ("Brutality" and "Friendship") while the stories are narrated. in which visual artists were its actors
jus ad bellum
Installation —video and sculptures— 2015-2017
Through video collage and large scale engravings, this work generates a connection between the glitches of FPS video games (First person shooter) and videos of contemporary mercenaries (Private Military Contractor or PMC´s). Economically the video games and the military industry are global powers, generating billions dollars profits each year.
The connection between the both, comes from the naturalization of the armed conflicts through the use of FPS video games (like the franchises of Call of Duty or Battlefield). The subject of mercenaries is ancient, which gradually has submerged in the darkness since the Peace of Westphalia.
the god child
Acrylic and graphite on paper and canvas, 2014-2015
The title is taken from one of the images of the work, in which a child resembles the position of the “child god” from traditional creche used to commemorate Christmas.
The project explores through painting and drawing a mixture of images from newspapers, which I have accumulated through constant research in archives and in various parts of Latin America (Mexico, Peru, Guatemala). Images of prestigious newspapers, sensationalist and neighborhood newspapers are redrawn or repainted and relocated next to more images that share little or no relationship with.
Images of political figures, celebrities, movie listings, erotic advertisements, or rude headlines, are mixed in order to create a game of the representation of the constant barrage of information to which we are subject by the media.
hda —historia del arte—
(history of art)
Acrylic on old paper, woodcuts and painting on newspaper images, 2012-2017
This painting project combines XX century influential works of art, with images form murdered people taken from sensationalist newspapers, in relation of creating and appreciating art in a violent context.
Video, 7:05, 2014
Brief history of slavery, labor abuse, racism and colonialism in Brazil. It tells how the institutionalized exploitation and discrimination (economic and racial) are still present in society. The choosen location is because it is one of the most unequal societies in the world and was the last state to declare slavery illegal (Acta Aurea, 1898).
Work developed with the support of the Cinemateca Brasileira, Pinacoteca do Estado de São Paulo, Pablo Saborido, Bandeirantes tv, and the Armando Alvarez Penteado Foundation.
Transfer, book, 2012
This work explores the strange relationship between Belize and Guatemala, which began when both countries were colonies (of England and Spain respectively), specifically, during the most critical situation which was about to start an absurd war between England and Guatemala, in which Israel eventually would intervene. It is through transfers from images of British and Guatemalans newspapers, I try to generate a broad and cynical vision about it.
Installation, house made with engravings from reutilized metal sheets.
Work developed in the residency of Fonca, Oaxaca, Mexico, 2008.
Photography: Andrés Asturias
This work was done with engravings from reused metal sheets, trying to imitate poor households. The goal of this work is a symbolically invasion to the museums and galleries (where this work will be exhibited). These spaces are usually related to economic elitism, which discriminates intellectually and are completely distant from the situation of their context (both physically and in content of exhibitions).
Scanned newspapers photographies and worked digitally,
frames and glass, 2009
The Guatemalan Civil War (1960-1996) led to a major split in the country’s population, largely due to ignorance of the war´s true background. Because of this reason, it have been always expressed as a protest in art, a single perspective, so I decided to express a cynical perspective, which has more in common with younger generations who have been born into a type of limbo, having lived a guerrilla, the Peace Agreements and corruption (corruption economic, political, social ...) that was around this facts. For that reason I worked this mix of images from newspapers of the crudest time from this war as if they were family photographs.
Book, transfer, 2011-2012
Imitating the clash of images in printed media, this book was made with transfers from images from the newspapers during the Guatemalan Civil War (1960-1996), with the objetive to express how the media misinformed people about the real situation of the country.
Video collage, 2012
This video collage abruptly mix all kinds of video that have been recorded or presented in Guatemala. This rough mix was made in order to symbolically cover the historical and political situation in Guatemala, in which the atrocities go together with completely contradictory situations.
Work developed with the support of Bruno 70, Cinemateca Brasileira, University of Pennsylvania, Des.Pacio and the Armando Alvarez Penteado Foundation.
hopefuly the sun will hide me
Oil on canvas, acrilic on wood, installation, 2013
Work made together with Andrea Mármol.
Art direction developed for the Julio Hernández´s film of the same name, 2013
the "monkey" sandoval, william walker, pedro de alvarado, his son álvaro arzú and the chapín "thunder", against the communist conspiracy and the agrarian reform
Dry point, 2013.
Random mix of historical characters and bizarre internet images.
Analog photography and Super 8 film, 2012-2013
This is a photographic and filmic documentation of the vegetation that emerges in abandoned buildings, which grows due to the latitud location (Tropic of Cancer), the force of nature and the negligence of the owners of the buildings. This creates an accidental aesthetic and an improvised urban vegetation which supplements the absence of green spaces in a disorganized urban planning of the cities.
even the sun has spots
Mural made with chalk, for the Julio Hernández´s movie of
the same name, 2011
In order to take advantage of the shooting location, saving resources and experimenting with the film aesthetics, these scenarios were designed for the Julio Hernández´s film “Even the Sun has spots”. These murals were made with chalk and the drawing was based in the director´s photographs. These ephemeral drawings relate to the film plot, which is an essay of the complex situation of filmmaking in Guatemala and how is trying to develop in this context.
Dry point and transfer, 2013
Work in progress
Work developed with the support of AIT.
Photography by Yukiko Koshima
It´s a graphic novel, illustrated with engravings. The story is a mix of semi-autobiographical, bizarre and melancholic experiences.
Ink on paper, 2012
Work developed in Des.Pacio and the Armando Alvarez Penteado
“The excess has become an aesthetic itself, which offered a hypertrophied choreography the world through the screens”. The world of news, entertainment and advertising are mixed continuously among us, this situation saturate our senses, that creates new images and new relationships, that generates a new meaning for ourselves.