Analog photography has taught me not to want to control everything. In that lack of control, something of me expresses itself, something from the moment that sneaks in and transforms the image. No two photos are ever the same; the emotions of the moment inevitably influence the result.

La Quimera involved going deep inside myself, trying to understand the reason for my photos, and to a certain extent, the reason for me. It was an exercise in emotional and psychological articulation. I was able to connect it with my research process, which consisted of researching mysticism, myths, and nature.

I learned that food can function as symbols of resistance and as a way to narrate the female experience from more intimate and sensorial perspectives. It also reminded me that magic and eroticism reside in the everyday, in small gestures and rituals that we often overlook.

I practice trusting the moment more and incorporating chance as a creative element. This has not only transformed my way of working, but also my way of perceiving everyday life: I pay more attention to the seemingly insignificant, with a more refined eye.

Confidence in the stroke is essential: it gives me stability, confidence, and inspiration to create from the most authentic part of me. And at the same time, that confidence is transmitted to the viewer, because painting is always a dialogue.

I'm very obsessed with 2000s music. It was the music I listened to as a child, and I love the aesthetics and fashion of that time. It's been a huge source of inspiration for me. 

I learned to breathe and take breaks. I learned that not everything has to be created with a specific purpose. Sometimes when you turn your passion into your work, you blind yourself to the beauty of everyday life, you forget the why.

With these latest drawings, my only approach has been to not overthink it, to unlearn how to find a reason for everything and let it flow. I focus on choosing my materials and the rest comes by itself.

I found in oil the perfect dense and tactile medium, which allowed me to explore gestures and symbols from distant places in the form of glitch and repetition, to insist on the presence of a fragmented origin. 

It’s a story of female empowerment after years of emotional abuse. Photography has been a way for me to get to know myself and express myself. Along the way, I’ve also tried to capture scenes that express harmony, balance, strength and beauty.

Many of us lack the sense of belonging we seek. What we have and know can feel like a void, a lack of something… We live in constant doubt and testing.

I'm fortunate that my brain conversations (thoughts) turn into advertising. Lately, I've been doing fun things with OATLY! , Sede Café , and STAX—characters, scenarios with humor and sarcasm, and wordplay. I love wordplay.

Once again, I was reminded that you don’t need perfect equipment or the perfect moment. We shot everything on iPhones — and you know what? The strongest photos came when I stopped worrying — about film, about technique, about how things “should” be. Sometimes, real magic lies in spontaneity.

Nutrir con mayor información mi proceso de conceptualización y planteamiento de ideas, para después someterlas a un ejercicio de depuración, eliminando aquello que resulta incoherente o innecesario. Confío en que este método me permitirá afinar el lenguaje de mi trabajo.

Recordaba mucho las charlas con otros viajeros que habían estado antes allí y me decían “no vas a poder ver nada real”. Eso me empujó a buscar lo contrario: esos fragmentos auténticos que igual se cuelan entre la puesta en escena.

Aprendí a confiar más en la pausa. A veces no se trata de empujar la inspiración, sino de dejar que llegue como agua de río, con fluidez. Y desaprendí la idea de que la belleza necesita explicación: basta con sentirla y las emociones ser interpretadas en silencio.

Es un ensayo fotográfico sobre la fé de las personas en la vida y la muerte. He estado aprendiendo demasiado, desde la forma en cómo me dirijo a las personas para hacerles un retrato, hasta en mis encuadres de las imágenes.

This is the first time I am presenting my textiles as suspended pieces: I wanted to convey the architectural quality that runs through my textile work-an element that holds deep personal significance for me.

Con un tema tan personal y sensorial como es el cuerpo, era inevitable evocar experiencias personales. Me sorprendió mucho notar que me costaba hablar de ciertos temas, lo que dificultó el desarrollo y la conclusión de algunos poemas.

Cada viaje aprendo algo nuevo, desde una receta de cocina, hasta temas más complejos. Por decir alguna, ahora sé sobre el deporte del rodeo, que comparte cosas con la charreada, pero definitivamente es como se acostumbra en el norte de México y el sur del gabacho.

Mientras que en la pintura la retroalimentación de la paleta es casi inmediata, en la cerámica hay un margen de incertidumbre enorme entre el trabajo manual y el resultado final. Eso exige más desapego, experimentación y la sistematización de procesos.

We just released my new photo book “Lane” and the project presented many obstacles. It was a huge learning experience and I hope not to repeat the mistakes that I made during the process.

Esta vez lo que sentía quería salir en forma de pinturas y de colores que no había trabajado antes. Creo que para pintar es necesario desaprender algunas reglas del dibujo, dejar de pensar en líneas y comenzar a trabajar con manchones y plastas de colores.