AUGMENTED REALITY

ABOUT

I am a visual artist, and researcher working at the intersection of public space, technology, and collective healing. My practice bridges the physical and digital worlds to build a radical commons, using site-specific murals, interactive augmented reality (AR), and participatory co-creation to mend social fractures and reactivate urban spaces.My work explores the balance of dualities, the tangible and the unseen, individual identity and systemic structures, inviting communities to look beyond the surface, slow down, and collectively imagine a more equitable future.

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SOLO EXHIBITIONS

BETWEEN SHADOWS AND STARS. Mexico City. 06/2024
90º FAST GALLERY. Mexico City. 03/2016.
REALIDADES OCULTAS. Bálsamo Gallery. Mexico City. 08/2014.

COLLECTIVE EXHIBITIONS

TOPO CHICO FRIENDS. Mexico City. 09/2024
NEXT COMIC FESTIVAL. Linz, Austria. 07/2024
ANIMA. Oaxaca. 04/2023
COW PARADE. 08/2022
VODU. Mexico City. 03/2023
HER FOR SHE. Mexico City. 03/2022.
CURANDEROS. San Miguel de Allende. 12/2021.
BEYOND THE STAINS. Ministry of Economy. Mexico City. 01/2020.
INTERPRETATIONS. Peligro Gallery, Mexico City. 08/2019.
CHOCOLATE ART SHOW. Los Angeles, California. 02/2019.
JAGUARTE. Querétaro-Mexico City-Puebla. 06/2018.
BREATH MASKS. Franz Mayer Museum. Mexico City. 04/2018.
TENNIS PARADE. Reforma Avenue. Mexico City. 02/2018.
MEXICRANEOS. Reforma Avenue. Mexico City. 10/2017.
THE GHOST ARCADE. Antique Toy Museum. Mexico City. 08/2017.
THE ROAR OF THE LION. The Lion King The Musical. Mexico City. 07/2017.
INK AND PAPER ECHOES. Museum of the Island, Cozumel. 04/2017.
NBA BALL PARADE. Reforma Avenue. 01/2017.
NFL BALL PARADE. Reforma Avenue/SECTUR. 11/2016.
CONTRASTED DIMENSIONS. CEMUNART Tlalnepantla. 10/2016.
ETHOS FAIR. Collective Exhibition. Mexico City. 03/2016.
EXHIBITION/AUCTION MUSEO SOUMAYA. Mexico City. 12/2015.
TLATOA. State University of Mexico. 09/2015.
NONEXISTENT REALITY. Ágora Gallery. 04/2015.
BODY WORLDS NIGHTS. Universum Museum. 10/2013.

PUBLIC ART PROJECTS

RE-EXISTENCE. Tequisquiapan. 04/2025
FAENA CULTURAL. Amealco. 02/2025
START ART. Braga, Portugal. 04/2024
ROUTE OF COLORS. Xicotepec. 09/2023
ROUTE OF COLORS. Ixtapan de la Sal. 10/2022
TINUJEI ART. Puerto Escondido. 02/2022
VANS CHECKERBOARD DAY. Mexico City. 11/2021.
RESISTANCE FESTIVAL. Tunja, Colombia. 10/2021.
NETFLIX CAMPAIGN. Mexico City. 08/2021.
WALL X WALL. Atlacomulco 07/2020.
AMBARÓ FESTIVAL. Atlacomulco. 11/2019.
PIXATL. Atlacomulco. 09/2019.
PACHAMURALISTS. Mazamari, Peru. 08/2019.
WE ARE WALLS. El Oro. Mexico. 04/2019.
CORONA CAPITAL 2018. Mexico City. 11/2018.
WOMEN IN MOTION. Tultitlán. 11/ 2018.
QUIMERA FESTIVAL. Metepec. 09/2018.
SMART NEIGHBORHOOD. Smart City, Puebla. 08/2018.
INTERNATIONAL MURALISM MOVEMENT. Hidalgo. 07/2018.
A HAND FOR OAXACA. Ixtaltepec. 05/2018.
HYDROART. Mexico City. 03/2018.
BAKALARTE FESTIVAL. Bacalar. 02/2018.
LEGENDS OF ALTAMIRA. Monterrey. 12/2017.
ART FOR MY PEOPLE. Xul-ha. Quintana Roo. 10/ 2017.
MURAL CITY. Tuxtla Gutiérrez, Chiapas. 09/2017.
JAZZ FESTIVAL. Xalapa, Veracruz. 09/2017.
MURAL CITY. Saltillo. 04/2017.
LOVE FOR ART FESTIVAL. Playa del Carmen. 03/2017.
BLANK WALLS FESTIVAL. San Miguel de Allende. 01/2017.
ARTIZAPÁN. ITAM, Mexico City. 11/2016.
LOVE FOR ART FESTIVAL. Playa del Carmen. 02/2016.
CORONA CAPITAL. Mexico City. 11/2015.
PICNIC DAY PARTY. Mexico City. 11/2015.

UNMASKING MIRRORS

Unmasking Mirrors is a site-specific installation designed to address the psychological fractures of modern society. By combining physical painting, mirrors, and interactive layers, the project acts as a community mirror, inviting viewers to confront the systemic masks (consumerism, emotional shielding, toxic positivity) we adopt to survive modern structures, opening a path toward collective vulnerability and self-discovery.

THE VOID CONSUMER

This mask seeks to fill an emotional void through material consumption. It represents a constant feeling of dissatisfaction, driving the user to acquire things in the belief that this will bring the fulfillment or happiness they crave, using material things to fill an inner emptiness that possessions alone cannot satisfy.

THE TOXIC POSITIVE

This mask is made by a denial of negative emotions. It reflects a persisted positivity, even when circumstances call for a different response. The user avoids confronting real problems, maintaining a bright facade of optimism that dismisses negative emotions. By creating an illusion that everything is always good, it prevents meaningful connections and personal growth, trapping the user wearer in a cycle of denial.

THE OPPRESSOR

This mask represents the need to control and dominate others to maintain power. It often comes from a larger system of oppression, where the user becomes part of a chain, perpetuating the same force and intimidation that once dominated them. The oppressor imposes their will, unable to show empathy or consider the needs of others, continuing the cycle of control and domination while using intimidation to maintain power and control.

THE VICTIM

This mask is created with a victim mentality, promoting a belief that the world is against the user, projecting pain or suffering as an excuse to avoid taking responsibility for its own life, instead relying on others to feel sympathy or take care of its well-being. By perpetuating this narrative, the user creates an identity rooted in helplessness, ultimately limiting growth and the possibility of reclaiming personal accountability.

THE STATUS SEEKER

Motivated by the desire for recognition, this mask reflects a constant pursuit of climbing the social ladder, where public image and apparent success are prioritized over true desires or values. The user is preoccupied by external views and opinions, and is always seeking validation and acceptance from others.

THE EMOTIONLESS SHIELD

Hiding all emotions, this mask serves as a protective barrier against vulnerability. It allows the user to avoid any form of emotional connection, preventing the risk of being hurt or judged. Behind this mask lies a projection of coldness or indifference, concealing the deeper feelings and fears that lie beneath the surface, ultimately isolating the user from authentic relationships and experiences.

THE TREND SHIFTER

The mask is worn by those who constantly change their personality or interests to adapt to the latest trends or societal expectations. In the pursuit of acceptance and validation, the user sacrifices their authenticity to fit into ever-changing standards. This mask creates difficulties in perceiving the true self, leading to entanglement in a cycle of continuous transformation that obscures authenticity behind a facade that conforms to external pressures.

THE ABUSIVE MANIPULATOR

Worn by those who emotionally manipulate and abuse others for personal gain, this mask operates by leading people toward what the user wants through deceit or coercion, often showing false kindness or interest while concealing selfish intentions. The user of this mask recreates a pattern of taking and draining others while using them as tools for the user’s benefit, all while hiding behind a facade of care or concern.

Playing with mirrors

Mirrors and reflections have an important role as they add an interactive layer to the artwork that invites viewers to confront the characters as reflections of their own inner selves. Each mirror that’s part of the artwork acts as a portal, blending the viewer's real-time image with the characters, symbolizing the subtle ways we might use these masks in daily life. When viewers look into these mirrors, they see not only the character but also a glimpse of themselves, merging identity and reflection, and making the artwork deeply personal and introspective.

COMMUNITY PROJECTS

I believe that true social repair cannot be imported or imposed from the top down, it must come from within the community itself. Public spaces are not only transit zones or blank walls, they are living ecosystems of collective memory.By using participatory art and co-creation, the community shifts from passive consumers of culture to active authors of their own environment. In a world fractured by isolation, rapid urbanization, and systemic disconnection, art has the unique capacity to heal and mend societies by building bridges where walls have been built.Over the past decade, my practice has taken me across North America, South America, and Europe, developing dozens of community-driven public art projects. The curated projects below represent key milestones in this journey and concrete examples of a methodology refined over time.

RE-EXISTENCE

Tequisquiapan, 2025

Moving away from the archetype of the woman as a warrior locked in perpetual struggle, this project explores the radical act of nurturing, peace, and harmonious coexistence. It is a visual manifesto for a future where women no longer have to fight to survive, but are safe to live, create, and thrive.

Co-Creation & Process

The mural is a living archive of the local community, co-created through participatory workshops with women, including survivors of gender-based violence. During the workshop, the physical acts of weaving became a tool for collective storytelling. This is why the central figure is a local artisan weaving a traditional basket from Tequisquiapan. The strands of the basket transform into empowering phrases written by the participants who also stamped their handprints and painted other phrases directly into the weave. This collaborative process transformed the basket into a literal and symbolic safety net, representing the invisible, unbreakable network of support and solidarity women build to protect one another.

RADICAL COMMONS

Master’s Thesis focused on art as a tool for civic empowerment and social negotiation.
Mexico, 2021

Can art education and civic education intersect to heal social fractures? While these fields are usually separated, this 4-month project investigated how integrating collective art with civic training in the public space could rewire community dynamics for adult women experiencing extreme vulnerability (including gender-based violence, housing insecurity, and addiction).

Co-Creation & Process

Adopting a context-driven approach, the project operated as a living lab. For four months, I conducted immersive participatory workshops where we use art as a tool to create sites of dialogue, self-reflection, and social negotiation.The methodology combined academic research, archive studies, participant observation, and structured interviews with creative co-creation. To measure the intangible impact of the work, I developed a custom diagnostic instrument specifically designed to evaluate the communicative, emotional, and relational shifts in the participants' civic competencies.The outcomes proved that participatory art is a radical tool for democratic engagement. Over the course of the project, participants didn’t just create art, they reclaimed their voices. The findings revealed significant personal and collective transformations, a profound increase in self-expression and confidence, and a renewed ownership of the public space as a ground for community building and conflict resolution.