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About me
Ongoing utilitarian ceramics project based in the Mesophilic Forest of central Veracruz.
Audiovisual piece for collective exhibition “Connective Typology” xpan.ep.1 [paris.25]
About me
Ongoing utilitarian ceramics project based in the Mesophilic Forest of central Veracruz.
Audiovisual piece for collective exhibition “Connective Typology” xpan.ep.1 [paris.25]
Territorios de ausencia Absences’ territory
Territorios de ausencia
2025
Absences’ territory
2025
BAiR Early Career Banff Artist in Residence. Banff Art Centre for Arts and Creativity
2025
Absences’ territory
2025
BAiR Early Career Banff Artist in Residence. Banff Art Centre for Arts and Creativity
Las piezas presentan un paisaje fragmentado, roto y dañado que pretende recuperar momentos de la memoria. Este proyecto surgió después de regresar a mi ciudad natal y a la casa de mi infancia, tras 12 años fuera.
Este jardín simboliza la presencia de mi bisabuelo, un hombre indígena de las altas montañas y campesino de toda la vida, cuyo cuidado y existencia se manifestaban en las plantas que solía plantar en este jardín. Esta vegetación funcionó como un testigo de un mundo silencioso y personal, con el tiempo una extensión de su presencia. Sin embargo, en el presente ese jardín ha cambiado, y mi memoria por si sola ya no puede reconstruirlo por completo. A través de la cerámica se reconfigura lo perdido a manera de restos marcados por erosiones intencionales. Estas decisiones exploran el concepto de ruina y el paso del tiempo, las plantas se vuelven contenedores de historias, afectos y duelos.
El proyecto no prentende idealizar la flora intenta presentar una evocación lastimada, a manera de restos arqueológicos de un ecosistema emocional que ya no existe. Y así, al utilizar mis manos para hacerlas puedo establecer una conexión con la tierra y al mismo tiempo mantener una comunicación con un espíritu a través de algo que ambos amámos.
La idea es simple, el territorio es un contenedor de afectos al que todos los seres humanos nos encontramos vinculados y la cerámica es una herramienta que reconstruye silenciosamente un jardín desaparecido que persistía solo en la memoria.
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This project consists of high-temperature ceramic pieces, glazed with slips and oxides, representing fragments of the vegetation that once inhabited the garden of my childhood.
The pieces present a fragmented, broken, and damaged landscape that seeks to recover moments from memory. This project emerged after returning to my hometown and childhood home after 12 years away.
This garden symbolizes the presence of my great-grandfather, an Indigenous man from the high mountains and a lifelong farmer, whose care and existence manifested in the plants he tended in this space. This vegetation functioned as a witness to a silent and personal world and, over time, became an extension of his presence. However, in the present, that garden has changed, and my memory alone can no longer reconstruct it completely. Through ceramics, what was lost is reconfigured as remnants marked by intentional erosion. These decisions explore the concept of ruin and the passage of time, where plants become containers of stories, affections, and grief.
The project does not seek to idealize flora; instead, it presents a wounded evocation, like archaeological remains of an emotional ecosystem that no longer exists. And so, by shaping these pieces with my hands, I am able to establish a connection with the earth while also maintaining a form of communication with a spirit through something we both loved.
The idea is simple: territory is a container of affections to which all human beings are bound, and ceramics becomes a tool that quietly reconstructs a vanished garden that persisted only in memory.
La idea es simple, el territorio es un contenedor de afectos al que todos los seres humanos nos encontramos vinculados y la cerámica es una herramienta que reconstruye silenciosamente un jardín desaparecido que persistía solo en la memoria.
_
This project consists of high-temperature ceramic pieces, glazed with slips and oxides, representing fragments of the vegetation that once inhabited the garden of my childhood.
The pieces present a fragmented, broken, and damaged landscape that seeks to recover moments from memory. This project emerged after returning to my hometown and childhood home after 12 years away.
This garden symbolizes the presence of my great-grandfather, an Indigenous man from the high mountains and a lifelong farmer, whose care and existence manifested in the plants he tended in this space. This vegetation functioned as a witness to a silent and personal world and, over time, became an extension of his presence. However, in the present, that garden has changed, and my memory alone can no longer reconstruct it completely. Through ceramics, what was lost is reconfigured as remnants marked by intentional erosion. These decisions explore the concept of ruin and the passage of time, where plants become containers of stories, affections, and grief.
The project does not seek to idealize flora; instead, it presents a wounded evocation, like archaeological remains of an emotional ecosystem that no longer exists. And so, by shaping these pieces with my hands, I am able to establish a connection with the earth while also maintaining a form of communication with a spirit through something we both loved.
The idea is simple: territory is a container of affections to which all human beings are bound, and ceramics becomes a tool that quietly reconstructs a vanished garden that persisted only in memory.