OWN ROOTS, COMMUNITY ROOTS and SOCIAL ROOTS glass sculpture series I was enthralled by the possibilities glass offers. Its characteristics make it intriguing and yet poetic. Glass lets me express -in an almost magical way- my spirituality and beauty -without resorting perfection nor conditionings- that all human beings have.

It brightness and luminosity speak of permanence, light and wisdom. Just like art, it is put together and then broken down time and again. Glass molecules change, break apart and come together reorganizing themselves through heat, like a timeless unruffled embrace. The results are one of kind, unique, changeable and ethereal pieces. They are all about self-acceptance. Like our divine human essence they are matchless as a mathematic uniqueness theorem of the true being existential paradigm."

SELF PORTRAIT: NAKED series My practice is informed by an intuitive and experimental approach to different art languages. My body of work (glass sculpture, painting, jewelry, photography, digital art, installation and videoart) explores personal, community and country identity and the complex relationship between humans and the environment while simultaneously reflecting back into my own childhood memories.

The selection of works for this contest comes from my NAKED series and is related to the repetitive patterns that define human nature, such as social, reproductive, spiritual or emotional ones.

I believe in being truthful, in human connection and in staying timeless.

Captivating the viewers eyes by seducing and making them wanting to know more. That is how they get lost in the photograph. 

I like to provoke the viewer to start questioning what they really see or feel. In this Series, my main subjects is the human body. 

Through the camera and light I craft the body, creating nudes, abstract pieces or bodyscapes. 

Each one can express different opinions or emotions to each viewer. 

This series represent timelessness, intrigue, seduction or even sadness with a deeply connection with nudity, not just visually but emotionally.

This is how I express my emotions with human connection and with environment.

SUDACOPOLIS (DID YOU LEARN HOW TO PLAY THIS GAME?) series 

In Sudacópolis, I sought to focus reflection on the potential for community social identity contained in the naturalization of different types and modalities of violence, as different processes intervene (habituation, familiarization, classification, categorization, labeling, domination, marginalization, exclusion, naming, and explanation) that allow us to accept the strange and negative as the natural way of doing and being in the world.

Some South American authors1 of community social psychology point out that this mechanism of naturalizing harm—and violence in particular—can be conceived as responsible for the maintenance and acceptance of essential pernicious aspects that can make human life unbearable.

Using the "do it yourself" concept and applying an irregular imprint to easily identifiable objects—which conceal their origin but do not hide it—I built an ecosystem of twelve games that depend on a macro game that—as a welcome—anticipates its voracious power.

Thus, these games with obvious dynamics—familiar and/or repetitive—address everyday and mundane spheres according to the underlying hypothesis that early games contribute to an individual's initial development, thereby naturalizing their representations to their adult identity.

After all, do harmless children's games mask violent adults?