ARTIST STATEMENT

I’m a Venezuelan artist born in a rural community in the Altos Mirandinos, founded by my peasant grandparents during the centralization that displaced families to the outskirts of Caracas. I grew up among mountains, springs, and women-led practices and lore in my family: weaving, cooking, shamanism, and craftwork. These practices were interrupted by a homophobic environment but resurfaced in adolescence as acts of reappropriation and resistance.

For two decades I have developed a hybrid handmade language that joins the precision of optical-kinetic art with rural memory, decolonial thought, and the ritual dimension of textiles, influenced by Ye’kwana technical and aesthetic refinement. Since the age of eighteen I have matured a proprietary thread press method: tensing polyester and silk threads onto wood to build modular grids in critical dialogue with the Venezuelan Abstract Art School (Soto, Cruz-Diez, Otero, et al).

My work challenges the monumentality and order of the kinetic legacy with ancestral knowledge and the embodied logic of rural labor. From a peripheral stance, I subvert industrial perfection and digital dominance, renewing manual practice through processes of repetition, error, and persistence. This language has become recognizably mine—an authorial grammar that re-reads Venezuela’s kinetic canon through lived rural experience and migration.