The studio has been in Mérida, then Seattle, now San Francisco. Every few months it looks different.
The studio is in San Francisco. I am working on an installation for the 2026 Madrone Artist Grant Showcase Fall Exhibition. This year I had many open studios and art critique sessions, and for each event like that I had a new work — a small new sculpture or a large sculptural canvas. I mastered work with layers: with paper and with ceramics.
A short-term studio in Seattle, and a series of sculptures made in it. One of them is in All Form No Function at 120710, Berkeley.
2025 is also the year I finished a series of sculptures with a fluid name (first Frames, then Deconstruction and later Collapsed Structures) with an installation where I installed ceramic on canvas and that changed how I work. From then on, I paid attention both to form and to the background. It also became clear for me that fracture is part of how the piece is built.
In 2024 I had an exhibition which was like a solo show within a group show: Ensayo visual sobre el encuentro — A Visual Essay on the Encounter — which put endogenous processes of my work into relation with everything else around; it was deeply material and carried embodied entropy, and was neighboring Jeff Colson's work contemplating the culture of celebration and sounds of fireworks in the same room.
Mérida, Yucatán. I worked with the idea of deterioration, and built a literally living sculpture with adobe-like technique. Later after firing I worked with the porous nest-like clay body and separated one large sculpture into two and then four arch-shaped parts to be mounted on the wall with henequen. The project was rather a process than a final result — I documented parts of it. The sculpture stayed in Mérida, never finished.