I am an indigenous immigrant artist living in the United States since 2017. For 15 years I have dedicated my artistic work to the production of figurative sculpture, in a continuous experimentation with a wide variety of materials. Since 2016 my work has been enriched with pictorial interventions in public space and community art. In general, my production arises from constant reflections on the complexity of identity, what the human being implies and the migration processes that, increasingly, link us as a global society. My works intend to invite the viewer to generate questions about these issues. Likewise, my work continually offers the viewer decolonial perspectives to address these questions. To do this, I work with a network of reinterpretations of symbolic elements from pre-Hispanic and Mexican cultures and the indigenous communities of the Americas.

The themes that permeate my work are reflections around three conceptual axes that are intrinsically related: identity - both individual and collective - the human being and migration.

A recurring theme in my production is constant reflections on identity. When I speak of identity, I mean both the complexity of my own identities and the collective identities that link us to different socio-cultural groups and that link these groups to each other. I am a Mexican, a Chinanteco indigenous from Oaxaca, the grandson of a textile artist from whom I learned to create beauty with my hands. I grew up in different regions of Mexico, exposed to a great variety of artistic and cultural expressions as similar as they were contrasting. This is how I trained as a person and as an artist in the midst of constant changes in places, cultures and languages. My production reflects my learnings by being the different, the intermediate, the one who adapted. However, it also reflects the identity of those multiple communities that I have been a part of and that are part of me.

Much of what shapes my artwork addresses what it means to be human, therefore, the representation of the human figure in my work has an important and recurring role. This representation allows me to express and raise questions about the interrelation between mind-body-spirit, the duality of life and death, the fragility of the body and the connections between human and non-human beings. Cultures around the world have asked these same questions. I constantly link indigenous worldviews that allow us to understand the human being from  decolonial perspectives. Giving us new alternatives to understand ourselves as social beings interconnected with other living beings.

Although my work has gained wealth through my constant migration within Mexico, migration has become a central axis of my work since I moved to the United States. In this country I am part of the Latin American community in the United States, which has historically been marginalized. Thus, in a matter of border crossing, my identity and that of my family as Mexican migrants became salient. This process has led me to question the narratives that perpetuate segregation, division, hierarchies between human beings and citizens and the understanding of identity differences as dangerous instead of promoting unity, collaboration, equity and appreciation of the differences in both Mexico and the United States. My questions have also allowed me to observe that the processes of oppression experienced by indigenous groups in different countries are the same. My life and my work have been influenced by this new experience of migration to the United States. My work has become a call to promote the appreciation of the members of the Mexican community, a call for equity and the appreciation of the differences that enrich multicultural communities and a call to counteract the lack of representation of artists of Latin American descent. actively contributing from the United States.

My production is primarily sculptural work and more recently public and community art. My aesthetic language is based on the human and zoomorphic figure that I seek to articulate with the presence of symbolic and aesthetic elements that are part of pre-Hispanic worldviews and of indigenous peoples throughout the Americas, many of which coincide.

The medium that I use in sculpture is always subordinate to the form and context in which each work is produced. Both are an intrinsic part of the work and guide my selection of materials. This way of understanding artistic production has allowed me to sculpt and model with a wide variety of materials, formats, dimensions and details, as well as to explore interventions in public space with community art in the form of murals and workshops.

Community art is art made for a community and where the same community is an active part of the process of conceptualization and / or production of the work. The community art projects that I have developed recently have been in collaboration with members of the Mexican community from Lincoln, Nebraska. These works make visible and value the cultural features of this community that have historically been ignored and rejected. The works open the possibility for community members to connect, develop a sense of belonging to the locality where they live, and become more forcefully involved in improving their living conditions, their neighborhood and their city. Likewise, the works make Mexican culture visible, exhorting society in general to appreciate the active contribution that this community has made to the town, helping to build a more equitable society. The results so far have been murals and workshops. The murals are works of public art that portray people who live and give vitality and cohesion to the Mexican community in Lincoln. The murals are a reflection of this same vitality. The workshops allow the use of plastic experimentation to open spaces that increase connections between members of the community to address issues of social justice and expand their voice.

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