Horizonte roto, 2014. Plaster, paint, iron structure. Dimensions variable. Photograph: ©LakeVerea. Courtesy of Proyecto Paralelo.
Horizonte roto, 2014. Plaster, paint, iron structure. Dimensions variable. Photograph: ©LakeVerea. Courtesy of Proyecto Paralelo.
Horizonte roto, 2014. Plaster, paint, iron structure. Dimensions variable. Photograph: ©LakeVerea. Courtesy of Proyecto Paralelo.
Ecos de un imperio I, 2014. Fragments of the text “La caída del águila” by Carlos Gagini removed from drywall. Dimensions variable. 78 x 58 cm each. Courtesy of Proyecto Paralelo.
Ecos de un imperio II, 2014. Fragments of the text “La caída del águila” by Carlos Gagini removed from drywall. Dimensions variable. 78 x 58 cm each. Courtesy of Proyecto Paralelo.
Ecos de un imperio III, 2014. Fragments of the text “La caída del águila” by Carlos Gagini removed from drywall. Dimensions variable. 78 x 58 cm each. Courtesy of Proyecto Paralelo.
El fracaso de la libertad, 2014. Bronze. 57 x 78 x 51 cm. Photograph: ©LakeVerea. Courtesy of Proyecto Paralelo.
El fracaso de la libertad, 2014. Bronze. 57 x 78 x 51 cm. Photograph: ©LakeVerea. Courtesy of Proyecto Paralelo.
Recuerdo monumental, 2014. Bronze. 43 x 123 x 77 cm. Photograph: ©LakeVerea. Courtesy of Proyecto Paralelo.
Sombra de libertad, 2014. Bronze. 15 x 143 x 72 cm. Photograph: ©LakeVerea. Courtesy of Proyecto Paralelo.
Estela de memoria I, 2014. Album sheet. 33 x 37.5 cm. Courtesy of Proyecto Paralelo.
Estela de memoria II, 2014. Album sheet. 33 x 37.5 cm. Courtesy of Proyecto Paralelo.
Estela de memoria III, 2014. Album sheet. 33 x 37.5 cm. Courtesy of Proyecto Paralelo.
Estela de memoria IV, 2014. Album sheet. 33 x 37.5 cm. Courtesy of Proyecto Paralelo.
Estela de memoria V, 2014. Album sheet. 33 x 37.5 cm. Courtesy of Proyecto Paralelo.
Estela de memoria VI, 2014. Album sheet. 33 x 37.5 cm. Courtesy of Proyecto Paralelo.
Puntales rotos, 2014. Book cut-outs 33 x 24 x 4.7 cm each. Courtesy of Proyecto Paralelo.
Hoy nos sucedió a nosotros. A ustedes mañana. 2014. Fiberglass, paint, wooden plinth. 197 x 75 x 80 cm. Photograph: ©LakeVerea. Courtesy of Proyecto Paralelo.
Duelo eterno, 2014. Oil on wood Execution in collaboration with Humberto Ramírez. 60 x 80 cm. Courtesy of Proyecto Paralelo.
Arte Plumario, 2014. Ink on paper, water drops. 43.3 x 35.5 x 4.7 cm each. Courtesy of Proyecto Paralelo.
Aclamación y despedida, 2014. Ink on paper, water drops. 43.3 x 35.5 x 4.7 cm each. Courtesy of Proyecto Paralelo.
El perecer de la tragedia, 2014. Fiberglass, paint, strings. Dimensions variable. Photograph: ©LakeVerea.
Coreografía del colapso, 2014. Exhibition view at Proyecto Paralelo, Mexico City. Courtesy of Proyecto Paralelo.
Coreografía del colapso, 2014. Exhibition view at Proyecto Paralelo, Mexico City. Courtesy of Proyecto Paralelo.
Coreografía del colapso, 2014. Exhibition view at Proyecto Paralelo, Mexico City. Courtesy of Proyecto Paralelo.

There is an important extent of oblivion implied in every form of memory as far as we are unable to remember anything whole and perfectly. In this sense memory and forgetfulness are reciprocal. Nevertheless, this observation eludes something that’s more relevant: oblivion is in fact the component that memory is made out of. Thus it is this inconsistent memory that connects us to the past, endowing us with our identity and leading to the construction of present history; it is what allows us to have a historical awareness capable of breaking the cyclical movement that takes us nowhere. Unilateral history pales when alternate representations are built that open up into unparalleled thoughts, other realities and life models. Memories are at play; they are being consumed. Faceless historical characters are being extinguished. History is dismembered and its ashes recovered to be incorporated into personal experience and reach a more aproximate idea of human existence. Through research, analysis and reflection upon current situations of conflict, symbols, historical landmarks, ideological clashes and mass manipulation, metaphors and representations are created that approach a common problematic: the representation of the past and the way in which we build, through a distorted image, the present and our projection into the future.