In my early teens, I moved from a tiny coastal town in Venezuela, to the capital city, Caracas. The radical change in geography struck me in a profound way. Caracas offered me an unprecedented visual chaos, an unbearable density of improvised architecture, which contrasted greatly with the serene seascapes of my childhood. Volatile and dangerous, the city tightly hugs its mountainous geography; a long valley surrounded by capricious hills opening to spontaneous, lush vegetation ever growing amidst the urban landscape. Such vast spaces offer a visual respite to an abundance of concrete. The city also displays a profound social division. Certain beautiful and well-kept upscale neighborhoods lie next to poorer areas blanketed by slums of tremendous violence and hardship, a precarious wall separating both. Thus, Caracas is a microcosm of the greater social realities of the country. There’s a certain vulgarity in this critical contrast; after all, Venezuela sits on the biggest oil reserves found in the western hemisphere, its landscape functions like a mirror that reflect the deep polarization of my country. There is very little that I can virtually do other than address a few of these contradictions, such as the conflict of political and social realities. My work, then, layers hard-edge, geometric shapes (aerial views of buildings) on cityscapes, and seascapes. The colorful shapes are at times translucent, and alternately opaque. They function amid a chaotic visual and social realities, layering, and revealing contradictions deeply embedded within my being. My work expresses polarization, and an attempt at constructing an identity of profound paradox, and ambivalence. Color plays a critical role. Red presupposes revolution, which Venezuela is hostage to. Green has a long history of toxicity, therefore layering it onto the landscape signals a possible destruction, but also of potential fecundity. In my work, I attempt to confront intimate realities of chaos and conflict.