Contemporary painter based in Los Cabos, Baja California Sur.

My work explores identity through gestural abstraction, material experimentation, and symbolic repetition. At the core of my practice is an existential urgency: painting as a space for externalizing inner states and for exploring how emotions, matter, and life itself transcend. Rather than delivering fixed messages, my work invites the viewer into a shared emotional field — a place to sit with contradictions and to inhabit the paradox of pain that lingers as a strangely pleasurable trace.

Building on earlier series such as Flowers I Never Gave (2025), my current practice has shifted from floral motifs to a deeper dialogue with gesture, material, and transformation. I work with raw cotton fabric and handmade pigments, including bone black created from animal remains, where each brushstroke is conceived as an event: a pulse that registers intensity, silence, and the possibility of rebirth. The black I create is never neutral — it carries the memory of fire, the trace of life consumed, and the continuity of that life within art.

Equally central to my process is the imprimatura, prepared by hand with rabbit-skin glue, calcium carbonate, and mineral pigments gathered from the Baja desert. Far from being a neutral ground, this artisanal base builds layered chromatic depth and a ritual atmosphere that frames the gesture while rooting each work in the geography and material memory of place.

My visual language emphasizes the tension between density and emptiness, matte and shine, rawness and refinement. Wide, forceful marks coexist with moments of stillness and pause, invoking both violence and serenity. Ultimately, my painting is less an image than an encounter with matter, time, and transcendence — a way of seeking permanence through the transformation of materials, memory, and gesture.

My creative path began with graffiti and poetic street interventions in my teenage years, later evolving through figurative drawing and extensive work in photography. Over time, painting emerged as the medium capable of holding both instinct and reflection. Today, my practice moves toward the materiality of pigment itself — dialoguing with the traditions of Dansaekhwa and the material consciousness of Mono-ha, while asserting its own path: an existential urgency rooted in the desert landscape and the rituals of prehispanic Mexico and contemporary Baja California Sur.