What pieces or projects have you been working on lately?
Recently, my body of work has shifted toward researching the dynamics of contemporary dehumanization and its relationship with virtuality. I began by exploring current phenomena such as the selfie, Instagram filters, and virtual self-sexualization. These technologies not only propose new ways of thinking about images, but also new ways of inhabiting and experiencing the body.
The concept of erotic capital suggests gaining social advantage through physical attractiveness and the performative construction of femininity, what is often referred to as “pretty privilege.” Within a context of widespread objectification of feminized bodies, the existence of a virtual corporeality can redirect this perversity back onto the perverse itself: a post-internet body that finds pleasure in positioning itself as a necessarily depersonalized organism.
What did you learn (or unlearn) while working on them?
Through exploring new media such as video and film, I have unlearned the need for conceptual or analytical justification and have instead begun working from sensitivity and intuition, searching for what Susan Sontag describes as “the erotics of art, not its hermeneutics.” This shift has been partly unsettling, as letting go of rationalization also means allowing space for vulnerability, yet it has been deeply fulfilling.
Were there any conversations, movies, music, or books that made their way into that work?
Two books have accompanied me closely throughout this project. The first is Mátate amor by Ariana Harwicz. I am drawn to the metamorphosis it proposes around femininity, its annihilation as a means of releasing something monstrous and violent, brushing against the animal. The way it intertwines domestic life with a wild and corrosive sexuality feels especially powerful.
The second is Testo Yonqui by Paul Preciado. His treatment of the image as an inevitably pornographic presence, and his understanding of gender as an invention of the Second World War, have been particularly influential. Connecting body, technology, and image as phenomena that cannot be understood in isolation has been fundamental to my research.
What's been the most difficult thing you've faced recently in your creative process?
Accepting the vulnerability that comes with working through intuition and sensitivity, rather than through conceptual justification or rational frameworks. It has also been challenging to engage with complex ideas such as erotic capital and dehumanization without oversimplifying them, while remaining honest within the work.
What is your favorite restaurant and what do you recommend we order?
My favorite restaurant is "La Maldita Fonda" in Tlalpan. I would definitely recommend the daily menu.
Recommend one or more artists you follow who inspire you, and tell us what you like most about their work or their way of working.
The artists I am most drawn to at the moment are Giséle Vienne, José Luis Cuevas and Payal Kapadia. I am inspired by the ways in which they explore corporeality, emotion, and visual narrative through deeply personal and uncompromising approaches.
I was born and raised in Mexico City. From an early age, I developed a self-taught relationship with literature and later pursued studies in photography and film.