Category: Interviews

I feel most like myself at sunset. I think sunset light is what attracts me most visually. The world around me becomes more vibrant and I feel more present. It’s my favorite time to take photos.

Landscapes are my jam. I have been lucky enough to source some legendary Kodak Aerochrome film in both 35mm and 120 formats. I have shot two test rolls so far, and plan to shoot more in the next few years.

I’ve spent years writing for myself about this topic: how different works of art (literature, film, photography, music, street art) have changed the narratives around violence in Mexico and have become vehicles for protest and memory.

I would love to exhibit my work in a solo show, and more than ever I’m thinking about how it could scale up and take on a different dimension. I dream of giant sculptures, inflatables, and murals.

Setting the frame, adjusting the light, listening to the quiet before pressing the shutter. It has given me the distance to see myself differently and to slowly learn to love and accept myself as a whole. These are moments when I feel aligned.

Unlike other albums, this one deals with topics that still hurt or worry us. The process was very fast, and the album reflects our lives, which never stop and are always changing. The songs are like that too.

I’ve felt out of place in moments when certainty dissolved. When projects shifted, relationships suddenly changed tone, and what I thought I understood no longer held.

Nació de la idea de un personaje que emprende una investigación en torno a un amigo de sus padres desaparecido hace muchos años. También nació de una curiosidad por reconstruir la historia del proyecto original de Ciudad Satélite. Y en cierto sentido también nació del hecho de que mi padre se estaba muriendo en Veracruz…

Durante la construcción visual y narrativa he logrado aprender a apreciar cómo el transporte público brinda un espacio de “no lugar”, donde se simula cierta renuncia a la identidad y solo se vive la espera.

The brief snow season we experience in Australia became a quiet way of thinking about the nature of temporary connections, including the one with the person I went on that road trip with, who I have since parted ways with.

The entire recording flowed as if every gesture we made had already been predetermined. I think it has been one of the most peaceful recordings of my life. Every stage of the album—mixing, design, and videos—felt completely natural.

My main project is motherhood. In the coming months, I hope to return to the ceramic project and refocus on developing editorial projects, which remain the central axis of my practice and the space where I most enjoy working.