Research, travel and the process of collecting inform my practice. Through the catalog and arrangement of found objects belonging to specific places, I put together work that dialogues between art, architecture and indigenous thinking. The work unfolds as a sort of travelogue that compresses past and present, vernacular and sacred, through the building of a personal narrative and the research of aesthetic, political and historical issues of interest to me. Recently, I have studied the representations of Chalchiuhtlice, the Mesoamerican deity related to water, rain, sea and fertility.

For this installation, I am taking inspiration from the simple rectilinear forms found in Japanese scrolls and the architectural depiction of roofless houses. The framing and paneling allow a view into the interiors and the intimate scenes where past, present and future are percived in a single moment through multiple focus points. In addition, I am inspired by the narrative of The Tale of the Bamboo Cutter, a story written in the 9th century and considered the earliest example of science fiction in history. It centers on Princess Kaguya who is found in a bamboo forest as a child after traveling from the moon in a golden capsule. This story correlates with Chalchiutlicue who is associated with the moon and was often worshiped by the moon pyramid in Mexico.

The visual layout of the installation is imagined as Tlalocán, the mythical earthly paradise known to the Aztecs and ruled by Chalchiuhtlicue and her consort Tláloc. The hanging works become the temporary walls in this landscape much like in the Japanese scroll scenes and the floor works containers of water. Thus, modern and minimalist lines unite Mesoamerican mythology and Japanese folklore.