Through its materiality, painting creates physical, imaginary spaces and realities. My interest in the medium has led me to explore figuration and to consider composition as a way of communicating a mental state.

I am interested in how a painting can hold a feeling in a single glance, an image that is felt before it is understood. By placing each work in close proximity to the others, I aim for viewers to perceive the emotion, experience, and reality I have constructed through my interpretation of each piece. In my paintings I explore my doubts about the universe and the behavior of others, using composition to convey meaning. Chater (2018) argues that imaginative leaps are necessary to understand others and perceive the world. With this in mind, I seek to find meaning in the "empty."

I have noticed that at different emotional stages of my life, I have specific predispositions toward certain colors in my painting. My daily experiences affect my perception, and in times of uncertainty I tend to use neutral, sober, desaturated tones. Some of these colors evoke the terrestrial landscape and elements such as earth, water, and the foliage of the region I come from: the desert. They serve as a foundation for me, anchoring me in a concrete space. The earthy tones create a sense of attachment to the natural world.

On Perception was created during a period of isolation. At the start of the pandemic, I struggled to differentiate between reality and thought. The desire to hold on to reality gave rise to this work. On Perception is a large-scale painting that immerses the viewer in a somber landscape. Three figures, positioned in front of a sandy beach, captivate the viewer with their proximity and scale. Facing the viewer, the cropped body of the figure on the right suggests an omnipresent observer. The gigantic scale of this body places the viewer within the landscape, revealing a child's view from a cliff.

In Cactus, I used color based on my perception of what a cactus represents to me. The tones create a nostalgic mood that evokes feelings of fog, cold, and dexterity. The cactus, as an element or motif, can symbolize many things. For me, it represents the land where I grew up and is a link to the place I feel part of. Both Cactus and Killed My Old Self aim to highlight the spiritual essence present in living things. The images are surrounded by a fuzzy white border that symbolizes the energy they emit. Where there is life, there is presence, and where there is none, there is at least a vibration that distinguishes it.

Birthday is an extension of my exploration of color in memory and comes from an earlier project. Livin' Color is a series of images from my childhood that explores memory through space, based on photography. I sought to recognize the nature of color in order to convey moods and, through it, to give the photographs new meaning by adding, distinguishing, or deleting information within them. It was an exploration that feeds and complements my current practice. The processes of erasing and covering are present in this project.

The months leading up to the completion of my series of paintings and drawings Una Realidad Imaginaria (2022) were spent analyzing color. Observing how it appears in everyday life, I began to explore it in media such as photography, video, and the web. It is a precursor to my current work. I was interested in exploring color by altering the reading of the image through the intervention of painting.

Fancy as Fork is the appropriation of a moment that belongs to my grandparents, in which I place the viewer at the table as a witness-narrator. Through figuration, it moves between past and present, drawing on images from the photograph that become a personal moment shared between the observer and the characters.