De ahí salgo bien trucha
This work employs an algorithmic editor
to create a real-time, recomposed video from fragments of narcocorrido music videos.
The piece
integrates images, sounds, and lyrics scraped from forums dedicated to narcocorrido culture. By
automatically remixing this data, the algorithm reveals and deconstructs the aesthetic and narrative
codes that underpin the mythology—associated with violence, celebrity, and money—at the heart of
this cultural phenomenon.
DigiLab, Centro de Cultura Digital / Mutek México (2025)
Algorítmica Íntima, Centro de Cultura Digital (2025)
Cuatro Veces Diez
This interactive video installation
remixes fragments from a global pop hits playlist into forty dynamic video mosaics. These mosaics
shift their position and order each time the viewer raises their hands, instantly recomposing the
visual field. This simple act reveals a potential choreography of consumption, transforming the
viewer's gesture into a trigger for the media's cycle.
The highly recognizable audio fragments are
subtly altered, immersing the audience in a ritual inherent to pop culture’s cycle of repetition and
discard.
Personal Exhibit Trípticos, Casa Rafael Galván, México (2025)
The Creator Has a Master Plan – Oh Lord Don’t Let Them Drop That Atomic Bomb on Me
A multichannel video installation
utilizing four audio and video channels that juxtaposes war imagery sourced from the internet with
concert footage of free jazz pioneers, Pharoah Sanders and Charles Mingus. Their compositions, which
articulate a deep concern for global violence and destruction, both inspire and give the piece its
title.
An algorithm fragments and disorders time and image, creating a visual narrative that can only be
reconstructed by referencing the titles of their musical works.
Personal Exhibit Trípticos, Casa Rafael Galván, México (2025)
Restos del Ruido
This procedurally generated video is
based on the transformation of footage showing employees of a multinational musical instrument
corporation destroying guitars to prevent bankruptcy. The source video is rendered as a dynamic
mosaic composed of 14,400 advertising images of electric guitars, selected based on the chromatic
affinity of each block.
The work critiques the predatory logic of capitalism, which produces for accumulation and destroys
for control. As the instruments are broken, the illusion of access, representation, and belonging is
also fractured, revealing how capital mediates cultural and sonic imaginaries.
Personal Exhibit Trípticos, Casa Rafael Galván, México (2025)
Tetlanamictiloni
An interactive, multiplayer virtual space that recreates the Temple of Tláloc located atop the Cerro
de la Estrella. The environment features five audio-reactive sculptures, each linked to a poem
recited in one of the indigenous languages spoken in Iztapalapa, the borough with the greatest
linguistic diversity in Mexico City.
When users approach any of the sculptures, they can listen to the corresponding poem and view its
translation into Spanish.
Sensitive Geometries: A Creative Program for Affective Virtual Experiences, Centro de Cultura Digital, México (2021)
RESILIENCIA, CONFORMACIÓN, INSISTENCIA Y PERIFERIA
An audiovisual composition that
utilizes 3D cartographies of the bordering territories of Mexico City to develop experimental
journeys. The piece is accompanied by minimalist music composed with modular structures analogous to
the urban landscape.
The work reflects on the persistence and formation of the city, and the resilience of its
peripheries.
Support Platform for the Artistic Community, Secretaría de Cultura de la Ciudad de México, México (2021)
C O R O N A
A looped 3D journey across the polar
representation of the phylogenetic tree of the hCoV-19 virus (SARS-CoV-2), virtually situated in
Mexico City's Zócalo.
The piece's sound is generated by reading the coordinates of this representation, which is then
modulated by a sine wave that ascends from zero to one hundred hertz throughout the entire loop.
Algorithmic Creations: Data Visualization and Sonification, Centro de Cultura Digital, México (2020)
Contigo en la Distancia, Secretaría de Cultura, México (2020)
El trayecto como un habitar, el registro sonoro de ese no lugar y el tiempo no productivo del desplazamiento
In the act of walking, the landscape transforms and is inhabited, becoming a time measured by
footsteps, where the journey itself becomes the central focus. This space, commonly ignored and
perceived as an invisible area between points of origin and destination, is experienced in a time
separate from the productive schedule of modern life, which regards it as a necessary evil for
commuting.
The sound installation, accompanied by videos and photographs, documents the Toluca–Mexico City
highway on foot. The work seeks to capture the pilgrimage of non-hegemonic discourses in their
attempt to gain legitimacy before centralized institutions, reasserting the condition of this route
as a non-place.
Central: Emerging Art Festival, Agencia Española de Cooperación Internacional para el Desarrollo, El Salvador (2019)
Toluca Also Exists: Creative Practices from the Periphery, Centro de Cultura Digital / Laboratorio de Experimentación Aeropuerto, México (2019)
Listening Week, Facultad de Artes de la Universidad Autónoma del Estado de México, México (2019)
I I I
Over the past year and a half, I have
endured the daily commute necessary to sustain my life, sleeping more than 70 km away from my
workplace—a condition that has become unsustainable.
This video installation juxtaposes satellite images of the round-trip commute between Mexico City
and Toluca with the accompanying sound recording captured inside the car. In addition, a sheet of
paper and a pen are displayed to collect signatures, which will be added to the resignation letter I
submitted for my teaching position at the Autonomous University of the State of Mexico.
By exhibiting these daily journeys, I seek to resonate with and generate empathy in people
experiencing similar situations, inviting them to leave their signature as a gesture of recognition
and solidarity.
Airport Experimentation Laboratory. Toluca de Lerdo, México (2019)
Prepotente Existencia Moral
In speaking, it manifests; in naming, it invokes. This sonic exploration finds a powerful element of
denunciation in the alteration and mixing of different registers. Institutional sound is subverted
into a questioning of what it argues, while elements closer to popular culture embody a claim
against a nearly invisible tragedy: the forced disappearance of thousands of people in the State of
Mexico.
The public address system (perifoneo) calls out and accompanies a proclamation that only sells
names, data, ages, and disappearance dates, challenging both the authorities and the silence of the
population. The sound penetrates inevitably, yet the choice is to look away. The eyes shift, but the
sound remains present. The sonic images of a hymn dissipate between the popular rhythm of a
sonidero, and the absence grows heavier. The sound arrives, and the listener waits for it to vanish.
Airport Experimentation Laboratory. Toluca de Lerdo, México (2018)
OSNI
This is an object whose elements have
been extracted and suspended in space. Its percussive activation generates interactions between its
tubular components and engages attendees in a sphere of participatory play.
The piece invites the discovery of unidentified sounds, thereby questioning notions regarding the
musician's exclusivity in the enunciation and assignment of meaning to sound.
Art Getxo, Euskadi, País Vasco (2015)
La Vuelta al Piano de Thelonious Monk
Marking the centenary of the birth of the "cronopio poet" (Julio Cortázar), and drawing from his
short story "La Vuelta al Piano de Thelonious Monk" (The Return to Thelonious Monk's Piano), an
interactive sound installation is conceived.
The piece invites the attendee to the random enunciation of phrases from Cortázar's story and Monk's
music. Through the percussive act of pressing a piano key, the active spectator generates different
narratives that combine and recreate the works of Julio and Thelonious, projecting ephemeral orders
and channels from the same sonic material.
The objective is to symbolically validate the participant as an individual capable of generating
sound narratives through the appropriation and re-signification of the productions of two cultural
references of the West.
Cortazar en Casa, Casa América de Catalunya, Catalunya (2014)
IX mostra Sonora i Visual, Convent de San Agustí, Catalunya (2014)
Fenestres Sonores
An intervention in a shared apartment dwelling that seeks to expose the multiplicity of undifferentiated sound spaces within social interest housing structures. The work utilizes soundscapes extracted from the routines of daily life that transgress the physical boundaries between apartments. This approach questions the notion of differentiated, private, and intimate spaces within the context of social architecture.
Plaga Festival, Colectivo NIO, compartEATments, Catalunya (2014).