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La pitonisa no se moja los pies (II).jpg





Dios suele cobrar en cuotas.jpg
La corona viene con la cruz.jpg
del jardin de los lamentos.jpg

"the process of things"


"8 scenes with live model"

"heroism and representation"

"circular story"


"Formas pendencieras
de amar"


"they told me to tell you"


"The year we have
lived in danger"

"Un crimen es un crimen"

Statement Artist


The philosopher Averroez, back in 1140 in the south of present-day Spain, carried out the enormous task of translating Aristotelian thought from Greek to Arabic.

However, there were two words that posed serious obstacles to understanding and advancing his work.

Those two words were; comedy and tragedy.

It happens that Arab culture knows perfectly well the work of a narrator. He is that person in front of a group of listeners and who describes a story through which he invites reflection, transmits moral values, and sharpens wit. But the crazy idea of conceiving a group of people in front of another group that, through disguises, are temporarily invaded by spirits that change their identity, that the space in which they move is geographically and temporally different in order to moral a story was something impossible.

That is why the words comedy and tragedy were a closed universe for understanding. Because those two words were linked to another word that was even more difficult to understand, which is representation.

And if we go further, it is not delusional to associate this with psychoanalysis itself. Let's also understand the latter in this way: what do we see when we look, what do we not see, what words do we look for in ourselves to unite an image with a feeling that emerges from something we have seen?I confess that theater touched me deeply in my childhood, although in a peculiar way since it was something common due to the activity through which my parents had known each other at work.

Both had worked in radio and theater. And all this perfume that accompanied my childhood was also courted by a profound influence of comics and neighborhood cinemas in a city where they reached almost eighty screening rooms and in a country where an enormous number of comics were produced. In other words; Daily life was absolutely surrounded by multiple stories and representations of fiction.

This multiplicity was so normal that I was not satisfied with being a spectator but it was also normal for me to be a doer.

Making stories on discarded paper and granting them semi-transparency using oil so that we could then project them with other kids was another way to spend childhood.

When I was 13 I had a summer job in a workshop making coffins. Far from scaring me, it fascinated me. It was the way of working from behind the stage on the other side of the theater; the tragedy. For me, that world was very normal.

I find these stories from my childhood as the cornerstone of my artistic training outside of an academicism but core to what, seeing it today from a distance, is how I conceive art. I cannot do it nor do I feel the need to look for a difference or separate thinking from feeling.

Those scenarios and characters for which I speak are not intended to answer questions but rather to better formulate the question through satire, drama and humor.

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