Sketches in multiple mediums like chinese ink, charcoal, watercolors.

From the collective exhibition "Mi cuerpo mi universo" (My body, my universe) with the artist Jose Saldarriaga at the Peruvian College of Architects' Gallery in Lima.

Some sketches selected from various notebooks.

(work in progress) Series of drawings in colored pencil, graphite and ink which take women's representation by some great masters of Western painting.

Mixed media acrylics, chinese ink (black and white), confetti, chalk.

Red cotton thread sewn into transparent plastic film.

Mix Media watercolor and color pencils on Canson paper.

Mix Media ink sketches on tracing paper and bus tickets.

The image mirrored of ourselves when we look at a mirror has served as a starting point to reflect on the use of selfies as "self-worship." In this installation, the viewer of the artwork can only see the work if he introduces his face on a hole. With this action, the viewer positions himself as the face of the saint (virgin Mary like form) on a catholic shrine reconstitution with candles and flowers.

This project involves a reflection on the masks as supporting structures externalizing human animalism. In this case, creating rat formed characters who roam in different streets in the city of Lima. These hybrid beings go beyond social criticism, they are an excuse for interacting with people on the streets. The various actions of the characters were recorded in photo and video, they became an art installation

The Combi art installation offers a look at an ordinary transport matter Peruvians have every day : taking a mini bus, usually called "combi". The viewer interacts with a multimedia booth in the exhibit hall. This cabin sets the path of a moving combi showing 3 different views recorded from inside the vehicle: the front, left side and right side. From the outside, the course video is reversed and each video is accompanied by the subtitled audio of people living in France that evoke their combi transport anecdotes from their life experience in Lima. And inside the device, the formal characteristics of the tinkered vehicle can be seen, and its typical decoration. The viewer can sit down and experience a combi ride in Lima, from the suburbs to the city center. At the same time, background sounds of the minibus environment like the street, the radio and the "cobrador" (bus ticket collector) which shouts aloud all the bus stations to get more people into the minibus can be heard.

This work is placed between a two-dimensional drawing and a three-dimensional sculpture. The shape of these demons are borrowed from Peruvian patron saint festivals. The hollow masks are blurred memory traces, they are the outlines of the imagined memory of the artist. That's how the blurred shadows, as well as the empty masks (almost immaterial objects) show ghostly beings from the Latin American traditions.
The installation shows a duplication of the sculptures in the espace, led by the shadow cast on a wall, multiplying the possible points of view of each mask suspended. These masks merge with engravings of XIX century French artist, Grandville, also projected on the wall, as in a humanized animals feast, no matter where the animals come from.

Twisted wire. The sculptures are around 60x50X20cm each.

This installation establishes a dialogue between a replica in drawing of the work "Still life with parrot" by Nicola Cassisa of the Jeanne d'Aboville museum in La Fère with a life-size sculpture of a parrot in flight made of colored galvanized wire.

This sculpture represents the labyrinth recreated of ourselves' daily problems. That's how those thick artificial, black empty wires grow like branches around the individual. The process of this work has been an opposition between a natural form of growth like branching like trees in contrast to the plastic of these empty TV wires that shape the artwork. This sculpture was built with the idea of making the viewer experience this oppression physically, inviting him to enter. I would be interesting to believe that, like Daedalus, we can all get out of our maze, leaving the tangle of our obstacles in order to move forward.

Empty structure covered by melted tv cable waste. 3 m high.

This work is placed between a two-dimensional drawing and a three-dimensional sculpture. The shape of these demons are borrowed from Peruvian patron saint festivals. The hollow masks are blurred memory traces, they are the outlines of the imagined memory of the artist. That's how the blurred shadows, as well as the empty masks (almost immaterial objects) show ghostly beings from the Latin American traditions.
The installation shows a duplication of the sculptures in the espace, led by the shadow cast on a wall, multiplying the possible points of view of each mask suspended. These masks merge with engravings of XIX century French artist, Grandville, also projected on the wall, as in a humanized animals feast, no matter where the animals come from.

Twisted wire. The sculptures are around 60x50X20cm each.

This installation establishes a dialogue between a replica in drawing of the work "Still life with parrot" by Nicola Cassisa of the Jeanne d'Aboville museum in La Fère with a life-size sculpture of a parrot in flight made of colored galvanized wire.

From a first reflection on the use of fireworks and animal representation in the Peruvian folklore, the artist questions the use of masks as liberators of otherness. Trying to renew the Peruvian traditions of pyrotechnic mad cows taking place during the celebration of the festivities in the provinces, the cow is replaced by a dog, giving it a more urban context. The reason for this change was a way to point out how the immigration of people to the capital entails adapting to the city. In urban context, it is impossible to see a cow out of control scaring passers-by in the street. The only animal with similar size and ferocity is a large dog like a pit-bull for example. The performance was held in the PUCP university campus.

This performance was part of a urban intervention for the "International Day for the Elimination of Violence Against Women", with the Collective 25 de Noviembre at the Plaza San Martin in Lima. Cecilia Rejtman, performance artist, starts the performance by running carrying on her shoulders a pyrotechnic monster sculpture similar to the mad cows often used at peruvian patronal feasts.
From the monster's mouth comes out red smoke and pyrotechnic bursts out of his back. He tries to scare, chase women participating in the march at the main square. This character represented the fear that disrupts the female universe. The artist leaves the monster in the middle of the square while it continues to explode until it's over. People were shouting: "Fear is dead, we won!".

This project involves a reflection on the masks as supporting structures externalizing human animalism. In this case, creating rat formed characters who roam in different streets in the city of Lima. These hybrid beings go beyond social criticism, they are an excuse for interacting with people on the streets. The various actions of the characters were recorded in photo and video, they became an art installation

Combi #2 video offers a look at an ordinary transport matter Peruvians have every day : taking a mini bus, also called "combi". This video sets the path of a moving combi showing 3 different views recorded from inside the vehicle: the front, left side and right side. Although the course video is reversed like coming back in time. We can hear a testimony of people living in France that evoke their combi transport anecdotes from their life experience in Lima. At the same time, background sounds of the minibus environment can be heard: like the street, the radio and the "cobrador" (bus ticket collector) which shouts aloud all the bus stations to get more people into the minibus. (Spanish audio, French subtitles)

In Apagones, the video shows different voices telling their childhood experience of power cuts during the 1980s in Lima. One story is recreated with their voices, where their games memory intertwines with daily fear. During the years 1980 and 1990, the internal armed conflict caused by the terrorist group Shining Path caused nearly 70,000 deaths. In the late 1980s, the scale of the conflict comes to the capital, which had turned its back on events in the province. The explosion of electric pylons and car bombs made people understand that danger was already in front of their doors.
Speculation and forgetfulness make these anecdotal accounts a resistance standpoint deal with conflict, and some reasons for the hermetic face about it today.

Vallejo's work is unique: its language, often strange and fulfilled with neologisms innovated Peruvian's poetry. He died in Paris on 15 April 1938 on Friday, not Thursday , as he said in his poem Black Stone on a White Stone before his death. This begins the legend of the poet of human suffering and universal brotherhood.
Black Stone on white stone is a sound project. In the video you can hear different voices declaim the poem by César Vallejo, Black Stone on a White Stone, written before the poet's death in Paris. We can see only the poem's text and French translation. Words and voices fall and appear like the rain that describes the poem.
The popularity of Cesar Vallejo in Peru after his death is such that in his hometown, Santiago de Puruchuco a school is named after him. All students, even the smallest, know and recite Vallejo's poems. The paradox of hearing children's voices in a small province in the Peruvian highlands talking about the suffering and death of the poet in Paris is the central question of this work.