Overview, 2008-2022
First exhibition 2009 University of San Marcos Cultural Center, Lima Peru
Second exhibition 2021: September 17 - October 16 | LatinXhibit. Falletteville Cumberland Arts Council, NC
The series of paintings: are based on real testimonies, intensive research and personal formative experiences of a childhood forced to live the horror of an internal political war. It reveals the painful roads that too many people have had to travel. Lines and spots of color are like traces burned by pain, by the anguish, despair, and impotent anger felt by women, children, the elderly, the young, and men. Show the tortured faces of all that tragedy. The works have been integrated with delicious breads, burned breads of course, which represent the faces of thousands of innocents who were certainly burned in military barracks. They are the faces and scars that we as victims would like to erase from our memories, from our feelings.
They, the perpetrators, believed themselves invincible, never to be punished, and free to eliminate from the landscape anyone who could contradict them. The ones they felt they were their inferiors, physically or intellectually.
The characters shown are like snapshots of the moments of greatest pain, of the final seconds, before the eyes closed for so many sisters, brothers, relatives, friends, our neighbors.
The paintings are like self-portraits that seem to be incomplete sketches, interrupted by the lack of time for those who will be tortured or killed. Yet that pain continues to be heard; perhaps you see it every day from further away, drowned out by the deafening noise of the fast-paced, modern life in which we dream of belonging and the one that definitely would make us forget. Forget even the present reality.
Second exhibition 2021: September 17 - October 16 | LatinXhibit. Falletteville Cumberland Arts Council, NC
The series of paintings: are based on real testimonies, intensive research and personal formative experiences of a childhood forced to live the horror of an internal political war. It reveals the painful roads that too many people have had to travel. Lines and spots of color are like traces burned by pain, by the anguish, despair, and impotent anger felt by women, children, the elderly, the young, and men. Show the tortured faces of all that tragedy. The works have been integrated with delicious breads, burned breads of course, which represent the faces of thousands of innocents who were certainly burned in military barracks. They are the faces and scars that we as victims would like to erase from our memories, from our feelings.
They, the perpetrators, believed themselves invincible, never to be punished, and free to eliminate from the landscape anyone who could contradict them. The ones they felt they were their inferiors, physically or intellectually.
The characters shown are like snapshots of the moments of greatest pain, of the final seconds, before the eyes closed for so many sisters, brothers, relatives, friends, our neighbors.
The paintings are like self-portraits that seem to be incomplete sketches, interrupted by the lack of time for those who will be tortured or killed. Yet that pain continues to be heard; perhaps you see it every day from further away, drowned out by the deafening noise of the fast-paced, modern life in which we dream of belonging and the one that definitely would make us forget. Forget even the present reality.