The structure of my work hinges on three distinct elements: knowledge, time, and the unknown. Driven by an epistemological search, my paintings explore how the plasticity of knowledge through time takes on a collectively fixed idea through the creative process. Within this process, knowledge is informed by human vicissitudes, be that success, survival, discovery, grief, memory, etc. These human manifestations inevitably lead one to face many unknowns embedded in the path to metacognition. As a result of these processes, I create theatrical scenarios in which the viewer can meditate about our shared longings. I rely on the wisdom of Jorge Luis Borges and wish to embrace all worlds, celebrating them as our inheritance. This is the gift and value of artmaking. Art represents a desire to reinvent and reveal ourselves in connection to our shared longings.

My use of traditional craft stems from a personal and ideological response to the reinvention of classical techniques of recent years. It is also an essential resource as a transcultural common ground. Conceptually, I find resonance in the balancing of chaos with order, the introduction of cultural elements and color mastery is equally inspiring. The mode in which these components fracture reality expands the mysteries that knowledge leaves behind and exposes a sacred-profane duality that intrigues me. Formally, I build upon the tropes found in narrative and symbolic art: the quest for beauty, archetypes, and myth. Methods are relevant to my consideration of art, yet, I recognize the need to find a unique visual language that can only arise from elucubration and intuition. This is where I find the affiliation of emotion and intellect. The Mexican Poet Cesar A. Cruz believed that art should comfort the disturbed and disturb the comfortable. Art, for me, lies within this nebulous dichotomy. As an artist, I am perpetually uncertain. Art purifies as much as it intoxicates, and these elements are inextricably linked to my identity.

I strive to preserve memories, feelings, and cultural reverence. I see painting as a tool for civilization, a cultural document, a collection of dreams, failures, and achievements by which we become more present and hopefully more real.