Statement

All my paintings express, to some extent, the feeling of exclusion. I am interested in exploring how the technologies that shape the contemporary city bottom-up (the internet, crypto, or artificial intelligence) reorder the sense of belonging in a community. I work on two levels: the social-ecological impact, and the bodily: cycles, memories, desires.

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These themes are the driving force behind the visual exploration in my abstract paintings: defined lines represent for me urban edges, in tension with erratic brushstrokes of intimate record. In Uprooted in the 90s (2024), discontinuous lines break away from a central axis and trace the porous border between home and public space. The work draws on my memories of San Salvador, where urban insecurity pushed life indoors (especially for women), while the rise of the internet turned that interior into a portal for travel.

 

In some works, I explore the intersection between the physical and mechanical registers, adding a machine-assisted layer. I convert digital inputs into strokes and print them with a pen plotter, adapted for brushes. In El Bolsón (2025), the circle represents my interpretation of collective cyclical inaction in the face of climate change. The robot maps the exact topography of an area ravaged by forest fires to reflect on how the impacts are unevenly distributed. In Pet Hydrolase (2025), I use the robot to print the precise structure of an enzyme that degrades plastic, generated with AI. It is a reflection on the ecological impact of this technology and its role as a designer of solutions. The expanding circles evoke futures imagined from the centre, while the margins of the painting stand for the territories that bear the consequences without having a voice in how these solutions are designed.