I reprogram images of the History of Art, as well as fragments of certain everyday realities that evaporate, plus other images that come from the most intimate personal memory of the knowledge inherited by my family ties; and experiment new contexts and senses to the immense flow of images that all these sources provide me with.

Then some projects emerge from this way of acting, for which I intentionally choose traditional media such as oil painting, drawing or engraving because it is my way of preserving the time. I mean the time instants of daily life that I refuse to lose; the time contained in elements and spaces of work that characterize some ways of knowing and surviving or resisting which involve human beings and that I found in: the legitimacy of traditional crafts, several techniques of craft production, the orality as a form of transmitting knowledge and the experience as a means of learning certain marginalized tasks of the formal education system. I even call for the coexistence between the implicit and necessary time for the production of works in perhaps conventional disciplines, with other means of production that also form part of the current art scene.

I think, translate, transcribe or re write, with the intention of creating interstices through the Art of reflecting on those behaviours imposed by the accelerated pace of postmodern vortex, fostering the dialogue between tradition and contemporaneity. Therefore, I hope that the course of my practice will form a container of life stories, exported knowledge and uprooting, of professions that fade and gave birth to utopias as the possibility of reconciling Art and life. I spend my time with materials, tools, photographic and sound records; and with this process that I describe surface dialectical artistic pieces and interpersonal relationships.