Selected Series of Paintings

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2024

Petroleum, silver leaves, oil pastels, over photography, and burnt pages over wood panels

12  x 12 in (each) 

2024

Nine photograms from a video-performance "Desigual Makeup"  

Petroleum, acrylic, screen printing ink, oil pastels, burnt pages of books donated by  the Stonewall Museum over “Hahnemühle” fine art print in a non-acid metallic paper

19 x 11 in (each)

2021

Mixed media on cut canvas with hand-sewn tassels

51 × 102 × 13 cm

2025

Dimension variables

Candle wax, burned and bound books, electrical cables, screws, horsehair

Dimension variables

2024

Wood, petroleum, burnt books, donated by the Stonewall Museum, sea sand, yarn, and up-cycle cord

Dimension variables

2024

Found objects, pages of book covers and burnt pages of books donated by the Stonewall Museum on wood boxes

9 in x 12 in

2024

Wood, up-cycle books from the Stonewall Museum, yarn, and cord

8.5 x 42 x 3.5 in (each)

2021

Mixed media on MDF assemblage with laser-cut elements, metallic paint, transparent acrylic, screws, and chains

20 × 34 × 5 cm (each)

2024

18 x 24 in each

Mixed media with petroleum, oil stick, screen printing on metallic paper and acetate over a wooden box. 

A layered reflection on confinement, protection, and Latin American mythology.

2024

11 x 14 in each. Limited edition of 10. Mixed media screenprints using computer parts and textiles. 

A poetic fusion of indigenous symbolism and digital aesthetics exploring identity and social imbalance.

2021
Linoleum matrix stapled onto wood panel
40 × 40 × 4 cm

In The Mother, the linoleum plate—used in the creation of the Fingerprints series—becomes the final artwork. Bearing ink stains, tape marks, and traces of the printing process, the matrix is no longer just a means to an end but a record of labor, intention, and memory. This piece honors the silent structure behind every impression: the mother form that carries, but is rarely seen.

2021
Laser-cut matrix mounted on wood panel
40 × 40 × 4 cm

In this piece, the printmaking matrix itself becomes the artwork. Rather than serving as a mere tool for reproduction, the laser-cut form—typically hidden in the process—is made visible, elevated, and permanent. Padres explores origin, structure, and legacy through the transformation of process into presence.

2021
Linocut and monoprint on paper using hand-carved and laser-cut matrices, printed with metallic, oil- and water-based inks; mounted in handcrafted pinewood box
36 × 36 cm

In Fingerprints, traditional and digital printmaking converge through a process of layered experimentation. Combining a hand-carved linocut with a laser-cut MDF stencil, the artist explored the interaction between metallic inks and oil- and water-based mediums. The gradual dilution of ink allowed for unpredictable stains and gradients, giving each impression a sense of organic movement—both deliberate and spontaneous.

2025

This mural, painted during the early stages of the Biolumina Project in Vieques, Puerto Rico, intertwines ancestral symbolism and island ecology. Inspired by pre-Columbian cosmologies and the local bioluminescent bay, it transforms a public space into a luminous portal between the past and future. The act of painting this wall was also an offering—to the land, to community memory, and to the healing potential of collective art-making.

2024

Performance installation where the artist, bound inside an abandoned cage, invited the public to write on paper labels and tie them to the bars—revealing how social stereotypes are imposed and eventually fade over time.

2023

Installation at MIFA featuring suspended white t-shirts, representing the internalized silence and absence of queer representation in public and private spheres.

2022

Installation View at DORCAM. Five-channel video self-portrait addressing queer erasure and domestic violence, presented as floor monitors in immersive spatial arrangement.