about born in mexico city, currently living in glasgow. mfa candidate at the glasgow school of art.
,draughtsman drawing irl 2019, video : i watch google as google watches me. a play on gaze and perspective on the multi-layered reality of today through a
series of networked livestream cameras and google's tracking policies. albrecht dürer’s draughtsman drawing a recumbent
woman (c. 1600) is used to illustrate the representational failure of perspective. while the draughtsman is effectively
blind — his gaze is lost in the paper, losing sight of the figure — the woman can seductively and unceasingly observe
,next to you (in-malibu.mx) 2019, website,video : to be territorial is to assert a relationship between ourselves and a place. these bonds fortify a sense of meaning and
identity. for many years, california has represented a cultural and geographical centre: the birthplace of “cool”, a
place of endless sun, beaches, and possibilities. a mythical image of the promised land, the ideal lifestyle. it is also
the last place i
visited before being deported and banned from the us in 2017. “next to you (in-malibu.mx)” is a longing for a place that
i can’t physically access. a question on the meaning of a physical barrier in times of hyper-globalisation,
,www.google.co.uk on april 12th 2019 2019 : this book, if input correctly back into a computer, will allow you to aesthetically recreate the google search
page logged in as me and looking as it did on the 12th of april, 2019 in glasgow, united kingdom,
,oh! pina 2019, website : both a website and an installation. it references the colonial history behind the pineapple trade and looks at the
pineapple as one of the earliest
links between scotland and latin america; tracing the journey of the pineapple from being considered a symbol of
privilege and wealth between scottish royalty to becoming the widely available fruit that it is today.
the website represents an internet worm whole on this journey, while the installation, consisting of nineteen pineapples
cut to read the website's url, represents it actual stage as a widely available fruit,
,haunting never touching 2019 : a collaborative installation (system) with reouth keren, consisting of her video essay on the significance of "the
event" through cctv footage and
two websites connected to ip surveillance cameras located in the space, which bounce around, distort and sends the video
back to the net, where it belongs. visitors encountered themselves in a playful state of surveillance,
we realise, that as long as the old doesn’t makespace, the new cannot be born.
both websites are still online, as empty vessels of what once was.
,witty linked verse 2018 : an installation consisting of up to 24 haiku poems, reinterpreted as urls by using the first website appearing on a
google search of each verse. through this action, a system of multiple translations is constructed. from japanese to
english, to digital, to physical. the essence and structure of this poems is lost and all that’s left are symbols.
symbols which can be traced back to their digital existence but no further, as their meaning is completely distorted,
,thirty-six 2018, collaboration with jeanne tullen,
website : 36 series of 36 self-portraits in the same location. the appearance/dissapearance of jeanne in the 1,296 jpegs is
weigthed, reducing this exhausting action into kylobytes,
,313 2017, website : a historical moment, jfk's assasination is altered through pixel and color manipulation to question the significance of
an event based on its representation,
,ethereal 2017, website
: melting the personal journal characteristics of instagram with the physical like traits of a 3D cloth a self portrait is
exploring the meaning and relationship between mortality and identity in the digital era,
,angst 2017 : a processing program that shuts itself off when movement is not detected,
,websites i've made