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My work is a disordering sign, undone and undisciplined.
Materials that enter my process maintain their subjecthood. Their surfaces hold, record history, and hum across the fluidity of time. Market bags, old paintings, found cloth, egg cartons, and clay serve as central figures within the landscapes that I call home, both the city and rural. I engage landscape painting to move from extractive singular rendering towards a relational field of multiplicity.
This work is not a flattened metaphor, it is a living Time bearing relation. Similarly, my aesthetics come from public transitory landscapes like market places and protests, where bodies gesture through space, and clash in color, sight and sound. These environments also shape my paintings' relationship to order.
Gestural marks define the range of songs inscribed on the painting's surface, with a rushed attention or desire to situate, the relational life of the work is lost. Through visual, sonic and performative elements, I seek to explore how Aymara expansive temporality complicates Western expectations of legibility. Timid coos, brash drums, flailing vocals, my paintings are activated when read as scores and performed by musicians. The performance extends the painting's refusal of fixed meaning––a push away from capture and containment.
In the face of dogma and fanaticism, I ask: What new forms of attention, care or resistance emerge when linear ideas of perception, progress and completion are challenged?
Or rather: what do my paintings dream about?
Who gives us permission?
How to be formal and feral?
A world in which many worlds can exist?
Or why, why, why?
Because everything matters, and nothing is wasted.
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