My work is organized into series that function as chapters of a single story: identity, memory, and my relationship with power are inscribed in objects, landscapes, and everyday language. I work from lived experience—Cuba and the diaspora—but I want each piece to operate beyond autobiography: as a device for observing social mechanisms, cultural contradictions, and forms of resistance.

I don't commit to a single technique. I choose the medium according to what each idea requires: I turn to painting when I need emotional density; to collage when reality reveals itself through fragments and friction; to photography when evidence and documentation are part of the argument; and to installation, performance, or sculpture when the body, space, or object becomes essential to the core idea.

The tone also shifts. At times I use irony to defuse the solemn—such as in Nothing Personal, where economic symbols and ready-made phrases become commentary—and at other times I privilege a more poetic, contemplative voice—such as in Mogotes, where landscape functions as a psychological state. That oscillation is not dispersion; it is method. I aim to create works that hold an immediate reading while opening a second, critical layer.

Taken together, my series seek to open questions rather than close them: about belonging and displacement, about value and propaganda, about the intimate and the political.