The project Superposiciones Poblanas was born from the invitation that the
independent space ERROR_PROYECTO made me at the beginning of the year to
spend a few days in the city and develop a body of work based on the City of Puebla.

Due to the Pandemic, the first phase of the project was developed with a “ping-
pong” of ideas about what we understood about Puebla, reaching the conclusion that we would work with 3 concepts “superimpose, earth and transparency”. This served to warm up engines and when my fear of traveling due to the Pandemic finally decreased, I decided to venture on an 11-day trip.

The second phase began with walks / explorations to locate spaces, materials and
understand the logic of the city, sometimes in a solitary way, others, accompanied by the people of ERROR_PROYECTO.

Finally, from the dialogue that arose in these first 3 or 4 days of exploring the city
and having the ERROR_PROYECTO friends as collaborators, I started to develop a
body of work that includes video, photography and installation.

Puebla, 2020

The force of the action resides in the simplicity of the gesture, which in turn, refers to both, the passage of time and the mark left by a human being in its path. Either because it arrives and deforms the landscape with the foundation of a city, because through the years it continues to change it, or because it destroys it to rebuild.
In Puebla, from walks through the city small actions are done, that rather than destroy they reveal the overlapping of information accumulated on its walls. The subtlety and hardness, violence and fragility, permanence and immediacy, materiality and immateriality are contrasted, constructing from a poetic and imperceptible gesture “another” city.

Entre el chile y el mole de olla, 2020
Polyptych of 5 digital photographs.

In this piece as a sort of game I perform a series of actions with the utopian idea in
the planning of the city of Puebla, originally a city of Spaniards for Spaniards. An idea that was lost in its very foundation when they brought indigenous people from the region for its construction.
It seems like there is a loss of identity in the act of covering the face, but more than
denying, it is an act of reaffirming oneself in the action of superimposing the body and ceramics of the region in front of five points of the city: the International Museum of the Baroque, a shop next to the Zocalo called Nueva España, a peripheral landscape, the Pyramid of Cholula and the Cathedral of Puebla.

The superposition plays a double role, the first one is a formal act, covering the face at the same time as the body is superimposed on the background. The second is conceptual, since it reminds us of how one culture overlaps another, mixing like Pre-Hispanic Cultures did with the New Spain and resulting in another culture, the Mexican.

Qui resists, vincit (Who resists, wins), 2020
Photography, canvas, sherd and wood

Installation that proposes the idea of resistance based on superimposing different elements. In the background, we see a black and white photograph of a man sitting in front of the International Museum of the Baroque with a sack where the sherds has overflowed. Over this image is a canvas which is only possible to observe the reverse to discover who and when was painted. This in turn, is propped up by three pieces of wood that help it to hold “something”, generating tension. Finally in the foreground the sherd on the ground and on both sides of the canvas, reveals that what is supported is this same material.

As we can see and understand in the brief description, one of the oldest crafts in the world, such as ceramics, is the one that penetrates, is sustained and comes out of the installation at the same time, resisting to disappear over the years. Also, the work has a load of emotional overlay since the installation was made from appropriating a photographic exercise by Oscar Formacio, an artist still in training from Cholula and who invited me to do a residency at ERROR_proyecto, a canvas by Rafael Uriegas, painter and former colleague of La Esmeralda who lives in Cholula, and the sherd of a 3rd generation of potters from the Barrio de la Luz in the City of Puebla.

Qui resistit, vincit (Who resists, wins), underlines the gesture of mutual help at least from a symbolic point of view, that is, the photograph encompasses the idea of the young artist with few resources who stands / resists in front of a white elephant as is the International Museum of the Baroque (example of the absurd and useless expenditure of the State of the capital destined to culture), at the same time, the canvas of Uriegas supports the photography and the sherd of the Poblano artisans, and finally, there is the gesture of superimposing these 3 layers of information in order to generate a new work and where it is clear that it is from them that my work can exist. Simply put, one supports the other.