BIOGRAPHY
Born and based in Mexico City, I am a painter, draftsman, and digital artist focused on the human figure and portraiture. I had been exploring diverse oil painting techniques and palettes applied to realism. Traditional approaches like the Apelles and Baroque palettes, alongside contemporary cadmium and chrome palettes, whose vibrant saturation I connect to the modern world my paintings inhabit.
Beyond my academic foundation in drawing and painting, the digital realm forms the other vital current in my life. My passion for computers and the Internet has naturally led me to integrate photography, the visual language of Instagram (images and videos), digital manipulation, and the use of 3D models into my process of constructing scenes and characters. In recent years, Artificial Intelligence has also become a key component of this creative synthesis.
I find a fascinating resonance between concepts such as Chaos-germ and Catastrophe, which Gilles Deleuze employs in “The Concept of Diagram” to describe the “Pictorial Act,” and the notions of Imagespace, Latent Imagespace, and Chaos that define the functioning of algorithms used in AI image generation. This conceptual parallel deeply informs my artistic exploration at the intersection of traditional artistry and cutting-edge technology.
CV
Educated at both La Esmeralda and Academia de San Carlos, Mexico’s esteemed national art academies, made an early mark at just 24, recognized with a third-place win in the National Competition “Mexican Railways and Painting.”
His artistic endeavors navigated the worlds of illustration, tattooing, storyboarding, and concept art for film. Also both 2D and 3D digital art.
In 2006, his short film “Iris” received multiple awards at the Kodak tent during the Cannes Film Festival, the Guanajuato Film Festival, and numerous other festivals across Mexico, the USA, and Europe, signaling a distinctive voice in filmmaking. This leaded to the invitation to the Remodernist Film international collective, participating in the experimental omnibus film “Impression X”. A dedicated practitioner of life drawing, has shared his expertise by teaching workshops and leading live model sessions. His paintings had been featured in solo and group exhibitions in Mexico, USA and France.
Has paintings in private collections and in the permanent collection of the National Museum of Mexican Railways. His art is also in the book Las Vías del Arte by Editorial Miguel Porrúa (1998) and has appeared in cinematic productions such as the film The Dark (2021) and the series La Hora Marcada (2023).
Has collaborated in cultural projects with organizations including UNESCO, Alliance Française, Centro Cultural España, Colegio de México, INAH (National Institute of Anthropology and History), the National Museum of Art, and the Mexico City Secretariat of Culture.
Shows:
• 2025 Galeria Azur, New York. “Here and There”, group show.
• 2024 Galeria Covarrubias, Mexico City. “La (im)Permanencia de las Formas”, group show.
• 2024 Hashtag Gallery, Mexico City. “Uncanny Valley”, solo show.
• 2024 Dolores 54, Mexico City. First Salón Mesones, group show.
• 2023 NFT Factory, Paris, France. “Tzompantli 2023”, group show.
• 2023 Foro La Paz, San Ángel. “Am@rte Art Show”, group show.
• 2021 Bitcoin Embassy, Mexico City. “Not Foreseen Tsunami”, group show.
• 2019 Mexico City Congress, Mexico City. “Women Free from Violence”, group show.
• 2018 Cine Tonalá, Colonia Roma. “Naked Radiance”, solo show.
• 2010 MUAC, UNAM. “The Garden of Academus”, group show.
• 1998 Buenavista Station major opening and national tour, National Painting Competition “Mexican Railways and Painting”, group show.
STATEMENT
The body, the search for carnations exploring different oil palettes in the deep portrait of characters, women who travel the Uncanny Valley between an idealized, pop and hegemonic beauty, and certain disconcerting, artificial, kitsch features. Their Reels and photos edited in 3D and AI (whose technique is surprisingly similar to Deleuze’s definition of the Pictorial Act) detonate paintings that pursue expressive and loose brushstrokes, but calculated to precisely evoke each detail in a painterly way without any photorealistic intention.
The baroque palette, calcium carbonate, glazes and underpainting with impasto whites, typical of Titian and Velázquez, are combined with the synthetic palette of cadmium and chrome colors, whose saturation I associate with the contemporary world. In the city, the skins are illuminated with baroque drama by fleeting colored lights, sometimes cut out from the dark background by another neon glow. Moments that can only be captured by the mobile.
With these characters, military references and certain pop elements as recognizable Iconology of our days, I create my vision of the world, not with the perfection conditioned by the photographic impression of reality, but with the subtle indefinition of its details, learned from the painting of the Old Masters and rediscovered in generative images, arriving at a naturalism increasingly subordinated to the materiality of the Pictorial Act.
