Entranced encapsulates an artistic odyssey—a poignant reflection on the intricacies of oppression, immigration, and the multifaceted experiences of people of color. The series serves as a visual narrative, an exploration that unfolds against the backdrop of societal realities, inviting viewers to gaze upon the intersections of socio-economic systems, immigration, and cultural landscapes.

This collection emerges as a mirror reflecting the multifaceted layers of society—a canvas painted with the nuanced hues of border patrols, the poignant journeys of immigrants, and the richness of culture enshrined within those who brave the journey. It serves as an introspective exploration, a catalyst for opening eyes to the palpable struggles and triumphs experienced by individuals of diverse backgrounds.

Entranced represents a transformative journey, echoing the realities faced by marginalized communities, particularly immigrants and people of color. It seeks to unravel the complexities and tribulations embedded within their lived experiences, shedding light on the systematic challenges and societal barriers they encounter.

At its core, this series serves as a tribute to the courage and resilience of those who navigate the intricate tapestry of immigration and cultural assimilation. It unveils the beauty and struggles inherent in the cultural amalgamation that arises from diverse journeys—ones marked by hurdles, triumphs, and the unyielding spirit to forge new paths.

One pivotal piece within this series, "The Wall," resonates deeply within this narrative. It serves as a profound testament to the weight of societal oppression and labor struggles faced by immigrants and people of color based off of my experience in Baltimore during the Freddie Gray Protests. This artwork reflects the entwined complexities of societal constructs—a powerful metaphor for the societal walls that perpetuate division, encapsulating the sorrow and labor endured by marginalized communities.

Entranced invites viewers into a realm where art becomes a mirror reflecting the socio-economic systems that shape lives—a poignant reminder of the intricate dance between cultural identity and societal structures. It stands as a visual testament, urging contemplation, empathy, and an opening of eyes to the multifaceted narratives that shape the immigrant experience and the lives of people of color.

The series 1968 serves as an evocative visual narrative, a testament to the dichotomy between the jubilation of the 1968 Olympic Games in Mexico and the harrowing echoes of the tragic massacre that marred this historical event.

In this collection of watercolor on paper, I delve into the intricate tapestry of historical memory, juxtaposing the vibrant spirit of the Olympics with the somber undertones of state violence and protest. Each artwork within this series encapsulates a delicate balance between celebration and tragedy, inviting viewers to contemplate the complex intersection of sports, politics, and human rights.

The 1968 Olympic Games in Mexico were a beacon of hope, a symbol of national pride and international unity—a monumental event pulsating with athleticism, culture, and global camaraderie. However, beneath this celebratory façade lies a stark reality—the backdrop of government repression and dissent brewing within Mexican society.

The artworks in 1968 reflect this duality—capturing the dynamic energy of athletic prowess alongside the poignant remembrance of the Tlatelolco Massacre. Through the medium of watercolor, I aim to imbue each piece with a sense of fluidity and emotional depth, mirroring the fluidity of time and emotions surrounding this turbulent period in history. 1968 paintings depict the 1968 student & union movement to protest against the political oppression that was happening before and during the Mexican Olympics of 1968. 

This series serves as a visual homage to the lives lost and the voices silenced—a somber reflection on the collision between the aspirations of the Olympic Games and the stark reality of political unrest. Each brushstroke on paper bears witness to the resilience of human spirit amidst adversity, echoing the unyielding quest for justice and remembrance.

1968 prompts reflection and remembrance—a visual narrative that urges viewers to contemplate the complexities of history, politics, and human resilience. It stands as a reminder of the enduring power of art to capture the collective memory and honor the voices that history has sought to silence.

The series 1968 serves as an evocative visual narrative, a testament to the dichotomy between the jubilation of the 1968 Olympic Games in Mexico and the harrowing echoes of the tragic massacre that marred this historical event.

In this collection of watercolor on paper, I delve into the intricate tapestry of historical memory, juxtaposing the vibrant spirit of the Olympics with the somber undertones of state violence and protest. Each artwork within this series encapsulates a delicate balance between celebration and tragedy, inviting viewers to contemplate the complex intersection of sports, politics, and human rights.

The 1968 Olympic Games in Mexico were a beacon of hope, a symbol of national pride and international unity—a monumental event pulsating with athleticism, culture, and global camaraderie. However, beneath this celebratory façade lies a stark reality—the backdrop of government repression and dissent brewing within Mexican society.

The artworks in 1968 reflect this duality—capturing the dynamic energy of athletic prowess alongside the poignant remembrance of the Tlatelolco Massacre. Through the medium of watercolor, I aim to imbue each piece with a sense of fluidity and emotional depth, mirroring the fluidity of time and emotions surrounding this turbulent period in history. 1968 paintings depict the 1968 student & union movement to protest against the political oppression that was happening before and during the Mexican Olympics of 1968. 

This series serves as a visual homage to the lives lost and the voices silenced—a somber reflection on the collision between the aspirations of the Olympic Games and the stark reality of political unrest. Each brushstroke on paper bears witness to the resilience of human spirit amidst adversity, echoing the unyielding quest for justice and remembrance.

1968 prompts reflection and remembrance—a visual narrative that urges viewers to contemplate the complexities of history, politics, and human resilience. It stands as a reminder of the enduring power of art to capture the collective memory and honor the voices that history has sought to silence.

Reflexiones de Una Cultura is a deeply personal series encapsulating the vivid memories and cultural narratives conveyed by my mother—a tribute to the enduring legacy and traditions of our Mexican heritage. These artworks serve as an introspective exploration of my identity as a Mexican immigrant, a journey delving into the complex interplay between my roots and the evolving Mexican American culture that envelops me.

In "La Emperatriz," the focal point rests on my mother during her youth—a rebellious spirit captured in familial photographs, embodying the essence of our heritage. This piece resonates with real motifs such as "La Calavera" and the deities of the Mexicah, evoking ancestral connections and heritage steeped in rich symbolism. I examine the idea of Aztlán, which emerges as a testament to the promise held within the Nahuatl language, symbolizing a bridge between my past and present.

"La Canterina" is an homage to my grandmother—a narrative woven with threads of familial anecdotes, imparting wisdom and cultural heritage. Each piece within this series echoes the vibrant tapestry of Mexican folklore, drawing inspiration from the spirited and enduring tales of our culture.

"Los Enamorados" immortalizes the enduring love of my grandparents, depicting their eternal dance beyond the constraints of mortal existence. This artwork encapsulates the essence of their connection, transcending time and space, reverberating with the music that reverberates through Mexico in "Los Musicos."

My series delves into the symphony of sounds that resonates throughout Mexico—a celebration of music that encapsulates the soul of our culture. Through these artworks, I seek to unravel the rich folklore and traditions surrounding the melodious beats and rhythms entrenched within our cultural fabric.

Reflexiones de Una Cultura is an artistic endeavor to navigate the intricacies of heritage and belonging, an odyssey aimed at reconciling the narratives of my past with the evolving landscape of Mexican American identity. Each piece serves as a visual narrative, a celebration of vibrant cultural tapestries woven with threads of memory, folklore, and the resilient spirit of our Mexican roots.

Fathom emerges as a transformative series, a bridge between realms, a manifestation of the intersection where the abstract meets the figurative—a transformative journey reflecting the dichotomy of being neither entirely from here nor there. It represents a significant stepping stone in my artistic evolution, marking a transition from the abstract to the figurative.

This series encapsulates a profound quest to translate the unspoken, a silent yearning to give voice to the unheard. As I navigated this transformative phase in my artistic trajectory, I felt an inherent need to articulate the narratives of those who often dwell in the shadows, whose voices remain obscured by the cacophony of societal narratives.

Fathom encapsulates a deeply personal and collective exploration—a visual narrative born from the liminal space between the abstract and the figurative. It serves as a testament to my evolving artistic language, a canvas where colors and shapes morph into tangible forms, embodying the silent echoes of those who lack a platform to articulate their stories.

As I ventured into the realm of figurative art, this series became a conduit—a means to express the suppressed voices, the marginalized perspectives, and the silent struggles of the unrepresented. Each stroke on the canvas was a deliberate attempt to weave a tapestry of narratives, a testament to the human experience often overlooked or deliberately silenced.

Fathom is more than an artistic exploration; it is a reverberation of empathy, a visual manifestation aimed at dismantling the walls of silence that surround the unheard. It represents an unyielding commitment to portraying the humanity and stories of those who exist in the peripheries—voices that deserve to be seen, heard, and understood.

In this series, I embarked on a mission to unveil the complexities of the human condition, transcending the boundaries of mere artistic expression. Fathom stands as a testament to the transformative power of art, a vessel to illuminate the voices that resonate within the depths of societal silence.

We Were Ones is an artistic documentation born from the tumultuous events surrounding Freddie Gray, echoing the narrative of a city in upheaval during the uprising. Each painting serves as a poignant chronicle of the series of events that unfolded, capturing the destruction and resilience of a community grappling with systemic injustices, including the presence of a unique Intifada "shaking off" of the city baltimore. 

In "Somewhere Deep in My Soul," the body of Freddie Gray becomes a focal point, symbolizing the rough ride he endured. The series, inspired by the streets of Baltimore, utilizes mixed media to vividly portray the visceral impact of these events on the community.

"Only Once" delves into the displacement and marginalization experienced by people of color in Baltimore for an extended period. The body covered by a sheet, stained and dirtied, represents those who participated in the uprising, standing against violence inflicted upon their bodies.

As a collective of people of color, We Were Ones emerges as a voice against the systemic violence and deprivation of rights experienced during a tumultuous period that included incidents like Fargo, and the shooting of POC individuals such as Michael Brown and Philando Castile.

"The Night Rounds" captures the pinnacle of the uprising with a vivid portrayal of the march down North Avenue, embodying the collective strength and determination of the community. "We Both Lost" juxtaposes the two sides or neighborhoods of Baltimore, specifically Hampden and Greenmount, illustrating the shared losses experienced.

In this project, art becomes a vehicle for remembrance and resistance, echoing the spirit of "A Beautiful Ghetto" by Devin Allen. We Were Ones seeks to immortalize the stories, struggles, and resilience of a community united against systemic oppression, standing as a testament to the strength found within shared experiences and collective resistance

Memories that Remember Us is a deeply personal exploration centered around the multifaceted experiences tied to Freddie Gray's narrative, with a more focused lens on my own journey. It delves into self-exploration, the significance of materials, and a newfound connection to indigenous roots catalyzed by a significant life event.

Initiated by my mother sharing with me our indigenous roots, the project gained material depth when volcanic sand from Popocatépetl temple, sent by my grandmother, became a crucial element. These materials serve as vessels for summoning memories, intertwining personal history and cultural heritage within each stroke.

In "Misterio," a nostalgic rendering of a childhood fish becomes a poignant metaphor. Initially drawn as a beautiful fish or a house for my family, the memory resurfaces, urging a reevaluation of artistic purpose. This self-reflection unfolds as an exploration of materials, heritage, and personal background.

"Los Recuerdos que se Acuerdan de Nosotros" encapsulates the essence of the series, featuring an abstracted image of being struck by a car—a pivotal moment that metaphorically parallels being hung up by life and then abruptly hit. This impactful instance serves as a turning point, signaling the inception of my figurative work and a reckoning with the profound beauty of skin.

Baltimore, a new environment, provided a transformative backdrop. Here, the majority being people of color offered a nuanced perspective, where I felt seen not through just the white gaze but through genuine curiosity. This shift in perception mirrored Freddie Gray's echoes, reminiscent of the car’s impact on my body.

Moments Away explores a chapter marked by the evolving health of my grandmother, capturing memories in black and white and primary colors that resonate with the emotional depth of this period in my life. The series delves into my longing to be closer to family during my grandmother's illness, a profound desire underscored by the thousands of miles separating me in Baltimore from my Mexican home—a place unvisited since childhood.

The title of the series, Moments Away, expresses my wish for my grandmother to be physically close once more, to embrace me as she did in my childhood. The sentiment of physical distance becomes palpable, a sentiment that permeates the series.

"Las Paredes" (The Walls) delves into memories of walls made of clay on my grandmother's farm, symbolizing a retreat from overwhelming emotions. "El Muro de los Lamentos" (The Wall of Lamentations) represents a storm of emotions, echoing my memories on my grandmother's farm.

"Relámpago en Reposo" captures a moment where my grandparents sought to impart knowledge of our native roots, lamenting the displacement and erasure of their proud heritage. The series bears witness to my reflections on the cultural transitions and losses experienced by my family.

Moments Away encapsulates an emotional journey, exploring themes of distance, longing, and the complex interplay of memory and heritage. In a visual dialogue, the series invites viewers to reflect on the universal aspects of human experience, the passage of time, and the deep connections that endure even when physical distances seem insurmountable.

The Point in Space unfolds as an exploration into materiality and the labor inherent in my act of painting, all conveyed through a series of panel artworks. This series encompasses a period of my artistic evolution where I engaged in digging and excavating paintings, seeking to reveal the hidden artifacts within the layers of pigment and texture. Each panel serves as a tableau, capturing the essence of a moment when I began to comprehend the transformative potential of painting. The exploration of materials and surfaces becomes a tactile journey, uncovering the abstract and the representation of bodies in space through the act of painting itself.

The title of the series, The Point in Space, extends beyond mere abstraction, delving into the relationships within family, memories, and cultural connections. Simplicity and abstraction become elemental in the series, echoing the nuanced dynamics of familial relationships and my exploration of self-identity juxtaposed against the backdrop of the present.

My project extends its gaze to global events in places like Palestine, Gaza, and Ukraine. It becomes a meditation on the inevitability of events and the urgent question of how to halt the cycle of violence and suffering. The series prompts contemplation on the legacies we leave behind, urging viewers to consider the impact of their actions on the world.

The Point in Space serves as a visual discourse on the multifaceted aspects of human existence, encapsulating my personal reflections, familial connections, and the broader socio-political landscape. The project invites viewers to navigate through layers of meaning, prompting a thoughtful exploration of my artistic journey and the resonances it holds within the collective human experience.