Under the Black Sun, 1991-1993: Based on the rudimentary technique of the street photographers in the Andes, the red layer of Mercurochrome serves to produce a ‘racial enhancement’, lightening the skin of the subject. These ideas are questioned in 'Under the Black Sun', as the process is suspended in the middle, unresolved, at the negative stage, with the red veil applied 'medicine' covering the face of the portrayed.

 

Untitled (Hanger, Stockings,..), 1992: Bearing the unresolved negative image directed to the intimate still life through ladies’ garments.

 

The Lost Steps, 1996: Photographs of apparently innocent everyday objects that were submitted as evidence in trials for terrorist acts, crimes of passion, and other felonies; the work references a XIX century photographic technical limitation, when the development of the lens did not entirely cover the format of the photographic negative, hence creating a dark aura around the object.

 

Left Blank, 1998: Images from XIX C. census books generated at the time of the high volume of immigration from Europe to the Americas, the blank pages denote the absence of the immigrated, left unwritten with hopes of their return.

 

Untitled (The Disappeared ), 1998: The large format triptych assembles interrelated images, which show a limited color use of dark brown and green tones, exposing garments in deterioration. Seen in unison, they resemble geographical maps. Almost citing a crime scene, the body denotes physical fragility. The work references the phenomenon of forced disappearences suffered during Latin American dictatorships, that today are still current and relevant in troubled nations worldwide.

 

Censored, 2000: The work was researched in the University of Salamanca's library in Spain, concentrating its attention on books (dating from XV - XVII C.) repressed by the Spanish Inquisition. Images of subtle colors and a level of subdued hostility, the elegant beige of the cotton hand made paper contrasts with the intense black of the censored passages. The images stand as witnesses to the suppression of ideas by the powers of authority.

 

Armored, 2000: Armored is a work comprised of five photographs which present, in the classical mode of a ‘three-quarter’ portrait, the historical evolution (starting in the 1970’s to 2000). The intimate photographic prints bring the viewer physically close to observe small differences in design and engineering. It comments on implicit urban aggression in the cityscape.

 

Nocturnes, 2002: A work made of multiple exposure of photographic images that suggest a parallel between the digital display of hours and nocturnal events that force one to wake up along a single night.

 

Bleus, 2002: The trace of pain is transformed into a pleasing colorful landscape, which creates tensions between the familiar and the unforseen.

 

Fears, 2004: A work based on a survey carried out among residents of Mexico City, and for the first time, a project created without the intervention of the camera. It focuses on the interior dialogues we all experiment, on the words we say to ourselves, on unspoken anxieties. 

The pieces are presented as rectangular monochromes of dark brown (with a hint of red), which is the first color we see when we close our eyes, it is formatted and sized reflecting the peripheral vision field. The texts at the bottom are almost imperceptible, unless the viewer moves up close to read them. This closeness creates an intimate relationship between the feelings of fear communicated by the texts, the viewers’ recognition of their own fears and their mirror-like reflections on the monochrome.

 

Dactylar, 2004: The hand serves as an instrument which leaves impressions, not only as physical realities but also as psychological marks. 

 

Bulletproof, 2008: Comprised of unsuspecting everyday pieces of clothing. Suspended in vacant white spaces, depicted in high detail, these well-crafted garments conceal their real purpose: to protect the wearer from attack by firearms.Emblematic of our times, characterized by increasing militarization and violence, not only used by politicians or the rich and famous, armored clothing is being widely adopted by ordinary citizens. Bulletproof includes eleven images of different pieces of clothing designed for different genders, styles, and age groups. Each image is life-sized and printed on cotton paper with a texture similar to that of the fabrics used for their manufacture.

 

The End (Cyanide), 2008: The work assembles three interrelated images, referencing classical still life conventions, as the chiaroscuro effect. The outmoded toilet-chair, the table with gathered chemicals to cure depression, among them, a bottle of cyanide; the wooden encased glass bottle, enforce the feelings of confinement and physical un-wellness.    

 

Helmets, 2009: A still life study made with unconventional objects, representing various forms of protective gear for head and face, worn by soldiers. 

 

Imprint, 2010-2011: Markings made by teeth pressure onto the skin at unnoticed moments, the deepness of the impressions imply the tension.