My paintings consist of alternating translucent, and opaque geometric forms overlapping landscapes of my homeland. These compositions function as materializations of chaotic visual and social realities, concealing, and other times, revealing contradictions deeply embedded within my South American identity. In confronting intimate realities of chaos and conflict color plays a critical role. Red presupposes revolution, which Venezuela has been hostage to for the past two decades. Also, green's poisonous reputation nods to annihilation, but also indicates potential for fecundity.
There is a powerful connection between the self and the environment, I came of age in a volatile and dangerous city. Caracas emerges amidst spontaneous, lush, evergreen vegetation in a narrow, long valley of capricious hills, where profound social divisions breed unrestrained. Upscale neighborhoods lie next to expansive abject poverty in slums-blanketed hills, sometimes a precarious wall, a street bisects both. Its matrix comprises a microcosm of painful social realities. There is a certain vulgarity in this critical contrast; after all, Venezuela sits on the biggest oil reserves found in the Western hemisphere, its landscape functions as a mirror reflecting deep polarization. My work addresses a few of these contradictions, such as the conflict of political and social realities by conceptualizing the physiognomy of the landscape in an attempt at constructing an identity of profound paradox, and ambivalence.