In my work, Nature is represented not in its appearance, but through her inner working. Since 1993, I have been working mostly with a single geometric matrix called the “Vesica Piscis” or The Vessel of the Fish, which could be described as the overlapping of two circles, creating an almond shape in between, the Mandorla. Departing from a single module, the geometry allows glimpsing over multiple patterns of potential growth. The repetitive motifs play on a system of ratios and proportions. I have used this sacred geometric matrix not only for its formal aesthetic potential but also for its archetypical meaning. This diagram is my point of departure and has been acting like a seed, generating a lattice based on the circle, which has allowed me to create the most varied patterns seen in my paintings. The Domino Series, a series of 30 + gouaches on handmade Indian paper attests to the prolific unending force of this system.
In earlier works, from 1993 to 1999, I have addressed the issue of Nature versus Culture questioning the role and use of stylization and ornamentation in Western society through an extended series of egg tempera paintings on wood panels centered on the metaphor of the Garden.
Focusing my attention to the underlying Geometry found in Nature was not meant to exclude figuration in Painting, the role of illusionist space in landscape for example, but to inquire into the invisible portions of Nature.
The use of black and white in this series of large scroll paintings on paper alludes to the formal rendering of X-Rays. I wanted the viewer to look through and beyond the physical appearance of reality into the inner mechanism, into the inner weaving, into the fundamental structural symmetrical lattice connecting all parts of the universe.
Today, some concepts seem to me urgent to foster like the symmetry and polarity of mirror-images (the visual equivalent of duality), as well as the novel idea of morphogenetic fields and their patterns.
However, in the center is the I (eye) relating, connecting, resonating at the rate of its own frequency pattern and communicating through the poetic impact of archetypal images.


Although from Mexico, I grew up in Belgium, and then went to Paris to complete a Master of Literature and postgraduate studies in Linguistics from La Sorbonne. After moving to Houston, I studied Fine Arts/Painting at the University of Houston, and then received a Core Fellowship from The Museum of Fine Arts, Houston. More important to me is my extensive training in Kundalini Yoga and meditation that sustains the holistic viewpoint that is inspiring my art. I am currently teaching Painting and Drawing at the Glassell School of Art/ St. Thomas University in Houston.