My work is organized in 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 the autobiographical: as a device for observing social mechanisms, paradigms, and ideological contradictions of my time.

I choose the medium in a way that complements the idea: I turn to painting when I need emotional density; to collage when reality reveals itself through fragments and false assumptions; to photography when evidence and documentation are part of the argument; and to installation, performance, or sculpture when the body, space, or object become essential to the central idea.

The tone shifts as well. Sometimes I use irony to disarm the solemn —as in Nothing Personal, where economic symbols and stock phrases become commentary— and other times I favor a more poetic and contemplative voice —as in Mogotes, where landscape functions as a psychological state. That oscillation is not dispersion; it is method. I seek communicative efficiency and work that sustains a balance between the physical and the conceptual.

Taken together, my series are deeply anthropological and contemporary, grounded in a conscious use of representational techniques and visual communication.