(Re[dis])located landscape

Nirox Sculpture Park

Soil, grass, cactus, stones, manure.

88 x 88 x 8 cm

2025

I was born in a city surrounded by mountains, which served as landmarks to orient myself and find my way back home. My height of one meter and sixty-four centimeters gave me a unique, below-average perspective. I grew up in a house where privacy and intimacy were unknown concepts. These, among other factors, shaped my interest in space.

Through my work, I seek to reorient the relationship we have with space using mechanisms like disorientation, folding, opacity, and silence. This is important to me because space is neither neutral nor objective, nor is it something external that we occupy; rather, it is something that arises from our relationship with the world. And to the extent that we find new and different ways of relating to space, we will be able to advance in our relationship with our own existence.

I use painting, photography, and sculpture to disrupt habitual dimensions and reorient the perception of space by stretching, folding, and unfolding its boundaries. While its limits do not define it, they do allow me to open up the field to perceive other phenomena that occur. I’m interested in space as a place of events.

I have explored this interest in different ways, in (Re[dis])located landscape (2025), I was interested in the displacement of the landscape and its lack of laws or restrictions; La sombra del oro del Pabellón invisible (2024), I was interested in the relationship between color, representation, and landscape; in El derroche de una buena juventud por una falsa educación (2020-24), I sought verticality in sculpture through the poetry of Roberto Juarroz; in Emesis (2022), I was interested in “transcreating” (a term by Haroldo de Campos) the pictorial space in Abaporu, 1928; in En la medida del error (2021), I sought to reorient the gallery space based on my height; in Tacet (2020), I sought to change space from its sound dimension; in How many times does a line fit on itself (2019), I was interested in folding space from a line itself; and in Shaheen (2015), I was interested in exploring the boundaries of painting and literature through a camel.