ever the same

deja vu

Acrylic on board 53,5 x 122 cm

myflower

Acrylic on canvas 100 x 73 cm

THEY DON`T UNDERSTAND US

Acrylic on canvas 100 x 81 cm

wath freedom

Acrylic on canvas 92 x 65 cm

europe

Acrylic on canvas 92 x73 cm

great again

Acrylic on canvas 92 x 73 cm

great whore

Acrylic on board 120x 60cm

Deja Vu

In "Deja vu", the plane becomes an archaeological record of forgotten traumas and structures. I explore the persistence of certain forms and compositions that inhabit the unconscious, emerging not as a copy, but as a biological echo. The figures float in a material vacuum, connected by an invisible thread of tension suggesting a fragmented narrative—a memory repeating in a loop that always remains foreign. It is a dissection of recognition without assimilation.

Mayflower

"Mayflower" does not portray a physical migration, but a navigation of consciousness. In this work, the figures operate as totems of uprooting, inhabiting a suspended temporality between the myth of origin and the uncertainty of destination. I explore identity as a hollow structure sustained by vessels of memory, crossing a horizon where the sacred is dressed in filigree and the everyday dissolves into the vastness of the landscape. It is a reflection on the search for solid ground in a world where the subject has lost their face to become pure transit.

No nos entienden (They Don't Understand Us)

"No nos entienden" is a manifesto on collective deafness. In this work, the scream ceases to be an expression of pain and becomes an inaudible frequency under the siege of the spectacle. I explore the collision between real trauma and the iconography of entertainment, where aerial surveillance and mass culture myths consume the human landscape. It is a dissection of tragedy turned into visual noise; a space where communication has broken down and only the stridency of a system that observes but does not understand survives.

Wath Freedom

In "Wath Freedom", freedom is revealed as a utopia besieged by the structures of power. I explore the human condition under the tyranny of dogmas and simulacra; a horizon where identity fragments into faces of pain, broken puppets, and imposed silences. The top hat and the helmet, totems of opposing yet complementary ideologies in their control, crown an architecture of bodies merging with pillars of faith and nation, under a sky that observes, imperturbable, the choreography of oppression. It is a dissection of the muffled scream and the severed gaze; a space where the word 'freedom' resonates as an empty echo against the immensity of the absolute and the perpetual.

Europa (Europe)

"Europa" is not a representation; it is a visual autopsy of a continent and its narrative. In this work, the foundational myth sheds its classical beauty to reveal itself as an organic and visceral chimera. The central figure, stripped of gender and time, rides a biological structure nourished by the architecture of power in the background, while an omnipresent and alien eye observes under a sky in crisis. I explore the tension between cultural heritage and the stark reality of a fragmented present, where European identity dissolves into its own symbolic excess. It is a record of collective blindness and inertia.

Great Again

"Great Again" operates as a visual chronicle of anachronism. In this piece, I explore the anatomy of power in its terminal phase, where the body becomes a record of tattooed ideologies and myths that have lost their validity. The central figure embodies the tension between the will for dominance and the inevitable erosion of time, protected by an animal loyalty that underscores the leader's loneliness. It is a dissection of nostalgia as a collective pathology, a portrait of the inertia attempting to sustain the ruins of a fragmented identity over history's void.

The Great Whore

In "The Great Whore", history shifts toward its own margin. I explore the scale of the sacred against the insignificance of the collective; a horizon where colossal entities emerge from a sea of unconsciousness to reclaim a territory already devastated by the simulacrum. The piece operates as a dissection of faith and excess, where structures of power hybridize with the organic in a parade over the waters. It is a portrait of waiting: the moment prior to total assimilation, where the mass contemplates, motionless, the return of its own myths turned into architectures of siege.