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Entre aparecer y ser
Welcome to my portfolio. This is a journey through my work, where each piece is part of an ongoing process. It brings together works that originate from different perspectives but share a common intention: to reinterpret reality from a more personal and conscious point of view.
Click on each piece to see more details.
'Trinchera'
During a period when I couldn't process what was happening to me, I built mechanisms to continue existing without being completely overwhelmed. I didn't do it consciously. The body and mind know how to protect themselves even when you don't know you need protection.
The blows are evidence that my trench did its job.
But protection comes at a cost that isn't always immediately visible. Over time, the refuge becomes a habit. The "I don't know" that was initially honest becomes automatic. And what began as a shield ends up becoming the distance between who you are and yourself.
Today I recognize that as the silent cunning of someone who doesn't know how to ask for help, but does know how not to disappear completely. Although, paradoxically, in that attempt to survive, I became invisible, first to others, then to myself.
This work opens the series because it represents the origin. Not the problem, but the mechanism that sustained it. Everything that comes after is born from here, from this refuge that kept me alive and that, at the same time, extinguished me.
Click on each image to see more details.
The blows are evidence that my trench did its job.
But protection comes at a cost that isn't always immediately visible. Over time, the refuge becomes a habit. The "I don't know" that was initially honest becomes automatic. And what began as a shield ends up becoming the distance between who you are and yourself.
Today I recognize that as the silent cunning of someone who doesn't know how to ask for help, but does know how not to disappear completely. Although, paradoxically, in that attempt to survive, I became invisible, first to others, then to myself.
This work opens the series because it represents the origin. Not the problem, but the mechanism that sustained it. Everything that comes after is born from here, from this refuge that kept me alive and that, at the same time, extinguished me.
Click on each image to see more details.
'Inercia'
In this work, I use a completely everyday action to address automatism from a more intimate and personal place. Brushing your teeth is a gesture we repeat every day to the point of doing it without thinking, and it was precisely there that I found something I was interested in exploring: the body's capacity to continue functioning even when the mind is far away, or absent.
The painting arises from that feeling of existing on autopilot, of going through mechanical routines while emotionally disconnected. I'm interested in how certain domestic actions, seemingly insignificant, can reveal internal states difficult to explain in words. I don't see this scene as a simple act of hygiene, but as a silent reflection of exhaustion, repetition, and incomplete presence.
Within the series, this work represents one of the points most closely linked to automatism: that state in which actions continue to occur, even though emotionally one is not fully present.
On the other hand, this painting was the first I'd done in a long time, and in a way, it also stemmed from a need to honor myself, to acknowledge my scars, and to give form to that Oscar who continues to work on making himself visible and allowing himself to exist in front of himself and others.
Click on each image to see more details.
The painting arises from that feeling of existing on autopilot, of going through mechanical routines while emotionally disconnected. I'm interested in how certain domestic actions, seemingly insignificant, can reveal internal states difficult to explain in words. I don't see this scene as a simple act of hygiene, but as a silent reflection of exhaustion, repetition, and incomplete presence.
Within the series, this work represents one of the points most closely linked to automatism: that state in which actions continue to occur, even though emotionally one is not fully present.
On the other hand, this painting was the first I'd done in a long time, and in a way, it also stemmed from a need to honor myself, to acknowledge my scars, and to give form to that Oscar who continues to work on making himself visible and allowing himself to exist in front of himself and others.
Click on each image to see more details.
'Borramiento'
While working on this series in therapy, a word came up that immediately resonated with me: erasure. My therapist used it to describe states related to repression, dissociation, and depersonalization. Although at the time I didn't know how to explain it, I recognized something of myself in that idea.
This work stems from that feeling of not being able to perceive oneself clearly. The distorted and partially blurred image doesn't represent a total absence, but rather an identity that exists in an unstable way; a presence that constantly appears and disappears before its own eyes.
The strangest thing about erasure is that it often happens without one noticing. Only later, as I began to see myself more clearly and recognize myself more honestly, was I able to understand how long I had inhabited that distance from myself.
Within the series, this work represents a moment of incomplete perception. There is no absolute disappearance, but neither is there a fixed or defined image. It is the attempt to look at oneself when it is still difficult to remain fully present to oneself.
Click on each image to see more details.
This work stems from that feeling of not being able to perceive oneself clearly. The distorted and partially blurred image doesn't represent a total absence, but rather an identity that exists in an unstable way; a presence that constantly appears and disappears before its own eyes.
The strangest thing about erasure is that it often happens without one noticing. Only later, as I began to see myself more clearly and recognize myself more honestly, was I able to understand how long I had inhabited that distance from myself.
Within the series, this work represents a moment of incomplete perception. There is no absolute disappearance, but neither is there a fixed or defined image. It is the attempt to look at oneself when it is still difficult to remain fully present to oneself.
Click on each image to see more details.
'Habitar'
In this work, I use the physical sensation of wet clothes as a metaphor for visibility and the experience of fully inhabiting the body. When clothes are dry, they cease to be felt; they become a silent extension of the body, something that exists but can be easily ignored, almost as if invisible. But when they are soaked, everything changes: they become heavy, they cling to the skin, and they make it impossible to ignore every movement; they become uncomfortable.
This painting arises from that transition between existing in a distant way and beginning to recognize oneself through presence. For a long time, my body was something functional but disconnected (although I didn't know it at the time), like something that traversed space without truly inhabiting it. In this work, I wanted to represent the moment when that distance disappears and existence becomes conscious. Where I finally began to manage my Being.
I am not interested in water as a symbol of destruction, but of revelation. Wet clothes do not hide the body; they delineate it, expose it, and make it impossible to deny. Similarly, becoming visible involves confronting the emotional weight of occupying space, of being present, and of acknowledging what was previously dormant or disconnected.
Within the series, this work represents one of the most emotionally intense moments.
Click on each image to see more details.
This painting arises from that transition between existing in a distant way and beginning to recognize oneself through presence. For a long time, my body was something functional but disconnected (although I didn't know it at the time), like something that traversed space without truly inhabiting it. In this work, I wanted to represent the moment when that distance disappears and existence becomes conscious. Where I finally began to manage my Being.
I am not interested in water as a symbol of destruction, but of revelation. Wet clothes do not hide the body; they delineate it, expose it, and make it impossible to deny. Similarly, becoming visible involves confronting the emotional weight of occupying space, of being present, and of acknowledging what was previously dormant or disconnected.
Within the series, this work represents one of the most emotionally intense moments.
Click on each image to see more details.
'Ser'
And from this moment on, I celebrate myself every day.
This work concludes a series built on a simple question: what price do we pay when we become visible? The four previous works documented that process from within. The rigidity of someone who lives as if in a box, the absence of someone who exists on autopilot, the effort of someone trying to recognize themselves, the physical weight of someone beginning to feel but not yet knowing what to do with it. This scene doesn't continue that process; it celebrates it.
The previous versions are there, but they no longer occupy the same space. They are no longer him. But they haven't completely disappeared either, because to say goodbye to them, I had to acknowledge them, and that's what I'm trying to do with this work.
And then, there's me. The one who today celebrates who he is, and who he always wanted to be, but even more so, the one who says goodbye to everything that brought him here.
Click on each image to see more details.
This work concludes a series built on a simple question: what price do we pay when we become visible? The four previous works documented that process from within. The rigidity of someone who lives as if in a box, the absence of someone who exists on autopilot, the effort of someone trying to recognize themselves, the physical weight of someone beginning to feel but not yet knowing what to do with it. This scene doesn't continue that process; it celebrates it.
The previous versions are there, but they no longer occupy the same space. They are no longer him. But they haven't completely disappeared either, because to say goodbye to them, I had to acknowledge them, and that's what I'm trying to do with this work.
And then, there's me. The one who today celebrates who he is, and who he always wanted to be, but even more so, the one who says goodbye to everything that brought him here.
Click on each image to see more details.
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Whether it's about my work or something that resonated with you, feel free to write to me. This space is open for questions, ideas, or opportunities. I'll get back to you soon.
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