Catalog of artistic practices against deceit, greed, and power.


‘The purpose of the exhibition Honestly printed dishonesty; a catalog of artistic practices against deceit, greed, and power’; is to enhance the value of honesty, which conforms the basis for the social contract that has made man strong as a species, to face a crucial moment for life on Earth. The exhibition is based on five examples of dishonest business strategies, practiced by pharmaceutical, chemical, and automotive multinational companies, whose practices have had harmful effects on nature and human sustainability. Deception is part of these strategies whose objective is greed and power. The works in this exhibition are five series of artistic practices created with traces or impressions of objects related to the products with which these multinationals trade.

The domination of man over nature has caused such a disaster that it increases the uncertainty about the continuity of life on Earth. Honesty in the face of climate change and human sustainability must be an enforceable principle for society and mandatory for large companies, due to the magnitude and impact of their decisions.


The artistic practice that I develop revolves around painting and sculpture, disciplines that I use to reinterpret the position of man in relation to nature from a perspective that blends western and eastern philosophical traditions. The starting point is to reverse the roles of power in the artistic process using natural cycles as artistic mediums. In this way, the power of construction of the works no longer resides in the hands of the artist but in the natural cycles. Thus, a way of interacting with nature is established through collaborative encounters in which man necessarily adapts to the ‘tempos’ and rhythms of the natural environment. Painting uses sunlight and the passage of time as media. It is a pictorial practice that is built through the destruction of dyed fabric pigments when exposed to the sun for extended periods. The sculptures use the growth cycle of trees as an artistic medium. The roots develop inside the molds until they are completely emptied. Also like experiencing with perception of colour.  My artistic practice understands the human being as a species that is interrelated in open sets of forms of life and merges in coordination through innumerable temporal rhythms. And all this in conditions of uncertainty and precariousness, that is, without the promise of stability or certainty.