Hopscotch - Cosmo-agonic is a dynamic interactive painting Installation on a 15 x 5-meter wall, exhibited at Marlborough Gallery Madrid in 2023. A series of 35 small paintings is distributed at different levels on 9 shelves. They are composed to establish a playful cartography. This emotional and random cacophony relates to the vital experience that emanates from the reading of Julio Cortazar Hopscotch's novel and contrasts with events of my own life. The paintings are reinterpretations of concepts such as history, time, migration, and love.

Entrodoscopes propone una reflexión sobre nuestro entorno y ese estado de consciencia alterado resultante de la invasión y distorsión generada por los medios y, en especial, social media.

The title reference, Tank Man, is the nickname of an unidentified Chinese man who stood in front of a column of Type 59 tanks leaving Tiananmen Square in Beijing on June 5, 1989, the day after the Chinese government's violent crackdown on the Tiananmen protests.

The Hand of History is motivated by the memories of my childhood as a xx-century student and the changes in the dynamics of learning after the development of the internet, as well by my interest in Art as a way to explore, accumulate and transmit human knowledge. 

Impossible Dialogue: is a participative art installation that focuses on the symptomatic polarized lack of civility that are affecting our interrelations in social media spaces. This installation resembles an apple store where the technological products will be replaced by clay phones, tablets and laptops whit relief inscriptions of texts and images.

The series of sculptural projects for public spaces that I have been working on recently are based on the poetic, symbolic and anthropomorphic representation of animals and objects, which have been important in my previous work, such as the running rabbit, the birds, the flies, the hourglass, and the books, among others.

In the Trumpito Series, I use a contemporary reinterpretation of the character: Boss Tweed, created in the late 1860s by political cartoonist Thomas Nast.

These drawings express my personal reaction to uncertainty and social estrangement imposed by the COVID 19 epidemic. In them, in addition to the personal and contextual references, there are poetic, philosophical and scientific allusions.

In this installation series, I use these poetic resources translated into a short animation surrounded by a vignette-like woodcut frame, to highlight briefly but consistently contemporary life issues related to uncertainty, migration, and sociopolitical and economic manipulation of populations in our globalized world.