Broken Coins

This work is a critique of false generosity in
western culture. The system conditions the
individuals by creating individualistic people
who are not capable of deepening sincere

The broken coins symbolize the false generosity that tries to give alms to the poor so that
they remain poor. The golden frame represents western society, and the asphalt bodies
the people who beg for alms.

This work investigates the identity appropriation between a material product and a human. Two elements that are continuously related in the same system, the capitalist system.

In this work the object is represented as a
textile dress and the individual as an asphalt
torso. The system in which they interact marks the identity appropriation. The product
takes the greatest importance; golden, standing, erect and proud. The asphalt humanin a box, on the ground being the object of a decisive theft.

The product appropriated the dignity that belonged to the subject. And the individual was relegated to the space previously occupied by the product.


This work was born from the reflection on the core incompatibility between democracy and capitalism.


In democracy, the power lies with the people, and in capitalism it is with capital. Opposite powers where one rules over the other cannot be parallel. It's either one or the other.

To represent this, I have used 4 elements. A golden school table holding methacrylate box, a block of asphalt that represents the capitalist system and hundreds of envelopes shaping the will of the people which remains crushed without the possibility of accessing them. Meanwhile, the ballot box supported by a golden table tries to give an image of democracy trying to obviate the forces of power within it.


It is a painting made up of about 200 asphalt faces.

This work is the main piece of a series of sculptural installations made in asphalt that question capitalist society. It synthesizes (or anticipates) various themes that I develop in other works in the series.

Through Occident, in particular, I am trying to highlight the agony that supposedly “post-industrial” society lives in the so-called “first world”. A place where everything seems to be framed in gold but on the inside, it lacks air and screams are heard.

Drowned in consumption and disconnected from each other. The members of this selfish society, step on each other. Crowded but alone and isolated, they inhabit a depressive society.

Pornographic Brains

With this work I intend to accuse the pornographic
industry for conditioning our sexual
identity and I question the normalization of
certain behaviors of a violent nature that I
consider an apology for rape.

What sexual identity can we have in a sexist,
capitalist and highly hierarchical society, in
which we are molded so that we believe that
we enjoy abusing or being abused? Perhaps,
isn’t it the same mechanism that operates in
other facets of our society?

The punching bag represents the porn show,
and the sex organs represent the actresses
and actors, victims of the violence typical of
this system. A circle of white porcelain brains
surrounds the entire scene, and in its fragility
embodies the audience, testimony to the

Each one of the brains carries a gag ball, the
mere observation of what happens in the
representation of porn makes us subsequent
victims; It restricts us and does not allow our
true sexual identity to express itself.

Ego Hands

This work was born from the attempt to
demolish the victimizing attitude through
awareness that I recognize as an important
part of my ego and which I need to get rid of.

I found the frame in the trash, and covered
it with gold foil, allowing the old wood
to continue to be seen in some areas, thus
respecting the history of the object. The rigid
polyurethane relief shows my deformed face,
choked by my own hand, and doesn´t let me
breathe. The hand represents how my ego
squeezes me and deforms reality.


Under the frame, hundreds of fallen, broken
plaster hands form a mountain.

It is an autobiographical work. With it I intend to narrate a cathartic moment in my life. I wondered in some depth who I was and where I was, and from this reflection a vision emerged, which I reconstructed in a sculpture made from material found in the garbage.

It is composed of an armchair and a mirror frame, to which 16kms of VHS tapes are glued. These tapes were mostly used to reproduce films, in which actresses and actors play roles.

The work alludes to me, as if I am looking at myself in the mirror, looking for myself in the reflection. But the answer is “you are not here; here, there are only constructed and empty identities, in search of social approval.”


My true being, my deep being, is covered, hidden.


This work has similarities to Dissociation. It is a "bourgeois" mirror, made of gilt metal and chandelier feet. Underneath is a heavy concrete formwork, from which a thick chain emerges. At the other end of the chain, in front of the mirror, a golden chair is tied, overturned on the floor.

It is a metaphor for the useless attempt to escape by a part of me that I don't want to see and it is difficult for me to accept. Looking honestly, sometimes, produces rejection.


The chain and the formwork say that - whether I want to or not - sooner or later I will be forced to give in and sit and watch myself; there is no option to avoid it permanently.


The chair is overturned by the outburst of flight, caused by the pain of the ego.


It is a crib surrounded by an electric fencing system similar to the ones that are used to contain livestock.


The system symbolically points out that the child receives a punishment every time they try to leave the place where they are supposed to stay. In this way, the child remains conditioned, developing a fear that will prevent them from seeking freedom in his adulthood.


The wire from the fence is connected to a battery located under an iron chair, representing the father or mother. I want to convey that the people who love the child the most are the same people who exert a conditioning control that will harm the baby for life.


The chair is made of iron, and is also connected to the electrical system, to stage the bidirectionality of the discharge: by conditioning the other to not be free, the conditioner is also conditioned, and continues to repeat the conditioning pattern to which he has been subjected.