“My (under)worldmakings tell entangled stories of creatures who craft obstacles for progress and development. Or more precisely: creatures who become themselves the obstacles. In my practice I try to articulate an embodied theory intertwined with nature and matter: a theory that can be danced, smelled, and touched. I build exuberant, crafty and low cost elaborated handmade paraphernalia and attires. I embrace degraded aesthetics that involve no mastery but inventive capacities and affective manual labor. In my aspiration to interanimate a queer reasoning with a decolonial imperative, I find a zone of contact that attempts to recover the pulse of life in its multiplicity, ambiguity and unpredictability.”

The Vermin’s Radio project will imagine a series of props and a stage design aiming to surround the videowork Sonnet of Vermin (2022). Sonnet of Vermin imagines inter-species entanglements between animals associated with the Mesoamerican underworld, an army of arms, and a funerary bundle. The characters that populate the narrative are: a bat who runs a radio program from a pre-hispanic tomb, a cyborgian funerary-bundle through who syntonizes frequencies from voices of people who refuse to accept their premature violent death, a choir of paranormal frogs who have learned how to metabolize the toxines of a river, a snake who changes its skin announcing the renewal of cycles, a scorpion who claims for the right of infection and a voracious earth/aligator -womb and tomb to which everything returns to.