STATEMENT OF WORK

I come from a family of storytellers, poets, and amateur comedians. Drawing inspiration from this tradition, I discovered early on that painting is my method of learning. It's a powerful tool for me to reflect on memories and discoveries. I use techniques from World Memory Champions and create visual representations of memory palaces to recall information. These visual constructs help me remember the language of my stories, capturing their structures and vibrant colors.

Painting is my thought experiment, allowing me to transcribe data and act as a translator, especially as a Nicaraguan-American millennial. My ultimate goal is to become a geomancer, a visionary, and a magical realist, aiming to depict communication barriers from social anxiety. I paint in invented languages to capture people's essence.

When you look at my paintings, I encourage you to wander and have a dialogue with yourself. They serve as navigational tools through ambiguity, inviting exploration of miscommunications. From my perspective, the distilled form within the abstraction holds no confusion. However, I intentionally leave the intended representation open to interpretation. The materiality of each painting plays a crucial role in shaping its language structure. I create binders, materials, and techniques from scratch, tailoring them to each artwork's unique language.

The resulting collection tells a narrative of our daily struggles with miscommunication. The paintings invite viewers to playfully perceive form and color as dynamic characters on a stage. I carefully select pigments to convey the work's attitude and place, acting as a record of the historical processes of painting. By juxtaposing historical and modern pigments and materials, my work becomes a passionate exploration, reminiscent of an enthusiastic review or the whimsical research of a clown-scientist. Through this exploration, I aim to uncover how the act of painting may have played a role in the evolution of our human communication abilities.