Memorias de Cera transforms an antique chandelier through successive accumulation of encaustic wax, preserving the object while simultaneously obscuring its original form. Layers of material gather across its structure like traces of time, turning a functional object into an evolving sculptural body.
The flowers are formed by hand through the gradual accumulation of encaustic wax, built layer by layer until the material acquires structure and volume. Branching forms are constructed, wrapped in silk velvet, and coated in green pigmented encaustic wax. Integrated light travels through the structure, illuminating the flowers and giving the work a bioluminescent presence.
Árbol de la Memoria brings together symbolic language, matter and botanical form in the image of a tree. Rising through a field of incised marks and recurring symbols, a central structure branches outward into hand-formed wax flowers, butterflies and points of light.
The tree is approached as a living architecture of information: a structure through which memory can be stored, transmitted and transformed. Symbols embedded in the surface coexist with emerging organic forms, suggesting a passage from encoded language into living matter.
Wax becomes both surface and organism: preserving traces while simultaneously giving rise to new forms.
Lenguaje I brings together signs and geometries built in relief through the application of wax over layers of encaustic. The forms emerge from the surface as fragments of a visual system suspended between writing, diagram, and code. Deliberately open to interpretation, they suggest an unknown language: an attempt to give visible form to what remains unseen.
Cartografía Verde I unfolds as a suspended field of symbols, creatures and fragments of language. Created through wax-resist batik on cotton canvas, recurring forms and written traces coexist as coordinates within an imagined territory. Rather than describing a physical geography, the work maps connections between memory, symbolic language and the unseen.
Campo de Fuego I transforms the floor into a temporary territory constructed through volcanic stone, textile, wax and fire. Tezontle is arranged across the surface as lines and markings, while a sequence of candles establishes a luminous axis through the space.
Conceived as an environment to be entered rather than observed from a distance, the work shifts as bodies gather within it. Fire becomes both material and activation, while the volcanic stone carries another memory of heat: matter formed by fire, matter transformed through it.
Through participation, the installation becomes a living field: a space where material, body and light briefly coexist.
Exhibitions, commissions, and site-specific environments. Inquiries welcome.