Trampa, 2026
Video and sound 5' 36"
Presented at the Museo de Arte de Zapopan (MAZ) as the central audiovisual piece of a collaborative, site-specific installation, Trampa is an AI-generated work that dissects the dynamics of violence between contemporary men and women, addressing the axes of death, impunity, and rebirth.
At its core, the work mirrors a personal experience regarding a femicide close to the artist, acting as a reflection of the daily terror and systemic violence in Mexico. Drawing conceptually from the figure of the Mausekönig (Mouse King) in Tchaikovsky's ballet, the narrative translates this allegory to a pachinko parlor, a liminal space of extreme boredom, doom-scrolling, and acquiescence. The space is raided by a convoy of child hitmen executing a brutal settling of scores against local mafia leaders, who are depicted as misogynistic rats. The protagonist, a "mouse-woman" working as a stripper at the venue, witnesses the murder of all her colleagues in the massacre. This raw visual sequence is intertwined with and deepened by a suicide note written by the woman's partner.
In its climax, the piece explores rebirth: the protagonist reincarnates in an idyllic natural environment, achieving apparent peace by embodying the purity of nature. However, this redemption is illusory. The figure of the "fatherless man"—an exploration of Jacques Derrida's philosophical propositions—goes back on the prowl. He captures this purified woman and drags her back to the pachinko parlor, enclosing the work in an endless loop. In this way, the cycle of violence and oppression is perpetuated, tragically materializing the relentless wheel of Samsara.
RAM, 2026
Video and sound 2' 20"
RAM is a narrative exploration of the bardo of becoming (the intermediate state between death and rebirth), anchored by the tragic real-world premise of Juanito Pistolas—an infamous child hitman whose brutal death at the hands of the Mexican army was widely disseminated on social media.
The work traces this fractured consciousness as it is thrust into the relentless wheel of Samsara, navigating multiple speculative planes of reincarnation. It begins with a visceral re-enactment of his death, propelling the mind into a cycle of successive rebirths: first as an animal subjected to cruel human experimentation, and subsequently descending into the frozen torment of the Buddhist "cold hells."
Projecting into a speculative future, the consciousness reincarnates as a cyber-humanoid in the era of AGI. In this state, the entity engages in a profound reflection on Emil Cioran’s nihilistic masterpiece, The Trouble with Being Born. Throughout the video, interspersed quotes from Cioran serve to question the very architecture of reincarnation, highlighting the inevitability of suffering within this inertial, cyclical existence.
The journey then mutates, stripping away the humanoid form as the mind becomes a submerged supercomputer server processing data in the abyssal depths of the ocean. Ultimately, the cycle culminates in a radical transmutation: the entity emerges as a pristine consciousness returning to the world, now imbued with Bodhicitta—the awakened, compassionate mind striving for the liberation of all beings. By merging systemic hyper-violence with philosophical pessimism and Buddhist cosmology, the piece questions the nature of suffering and the possibility of radical compassion across human and non-human iterations of life.
Video and sound 3' 52"
Presented as part of a self-managed, independent exhibition, 2 frames the creative process through the esoteric Buddhist practice of Chöd. The work operates as a ritual of severance, where the artist acts as an artisan, conceptually offering their own mind and ego to confront inner and outer demons, both in the social and inner context.
The narrative explores the dynamics of violence, focalized through a speculative lens: a reptilian humanoid AGI committing assault against a pregnant woman, suggesting a feminicide. This harrowing encounter functions as a proxy for the systemic gender violence and terror embedded in the Mexican social fabric.
The work further dissects this socio-political reality by reframing the symbol of oil. Beyond its environmental implications, crude oil is depicted as a sinister currency of power and bloodshed monopolized by organized crime. This is viscerally materialized in the recurring motif of a "bleeding barrel." The imagery stems from a devastating true account of a hitman who witnessed his father offer his younger brother as a token of acceptance to a criminal syndicate.
In a country where beings continually perish as prey to the demons of hope and fear, the piece contrasts extreme violence with the solemnity of Asian cemetery monuments. By juxtaposing systemic horror with a profound reverence for the lost, the work reflects on existence through the detachment of the physical body. Ultimately, it frames the search for spiritual liberation as a radical, desperate response to a landscape suffocated by death.