Eres un Fantasma
Alumnos 47, Ciudad de México. April, 2018.
Almanaque Fotográfica Gallery. Ciudad de México.
February - March, 2018.
Making Appear, an exhibition of photography observing articulations of sensuality and place, gestured at making the commonalities of expression visible. Through a sharp programme organized by French curator Aurélie Vandewynckele, the project also showcased an enviable local and international roster with inclusions by Paul Mpagi Sepuya, Aglae Cortés, Julie Escoffier, Manuel H. Márquez, and Ellie de Verdier. Photography here served as a indelible, utilitarian vernacular for relaying and ensuring the visibility of concealed yet shared moments. More importantly, in examining the shifting territories of photography and sculpture, the show looked to dispel “illusionary territories that occur inside and outside of the image,” effectively opening up space for possible interpretations and deconstructions of space and body.
Mark Pieterson – AQNB Magazine.
Segundo Concurso de Fotografía Contemporánea. Fototeca de Nuevo León. Monterrey, NL.
Digital chromogenic prints.
Galería Progreso. Ciudad de México. June, 2017.
Fototeca de Veracruz. Veracruz, México.
Inkjet prints on wallpaper.
Black and white laser prints, clock, water.
Wassaic, NY. February 26 - Spring, 2015.
Installation at Maxon Mill building in Wassaic, NY. A one of a kind nine-floor grain elevator.
The mill is not heated during winter time, so below-freezing temperatures are held indoors. I wet-pasted black and white laser prints using water to encapsulate them to the walls and floor.
This installation will be on view until warmer weather in the rooms melts the ice and the work falls to the floor.
"It was freezing in the mill last week as we climbed the seven stories to one of the topmost grain-bin galleries.
In one, Manuel Márquez, an artist-in-residence from Mexico, had used the climate to his advantage, spraying water on moody black-and-white photographs so that they were frozen to the walls and embellished with glistening icicles. Ice chunks were displayed like sculptures on shelves hammered between the exposed studs.
It was a fine expression of adaptive reuse".
Mention about You're a Ghost in the New York Times article about the Wassaic Project.