untitled . managua . work in progress 

We always believed in the possibility of violence.  Over our property's wall,  we placed  a layer of cement with crashed glass bottles to hurt those who tried to cross our limits. I cover my body with a mix of sand, porcelain and shattered bottles to  become an unbreakable perimeter. I'll lay over a mobile platform and I'lll exhibit myself in Managua's most crowded place:  Gancho de Camino, at Mercado Oriental. I'll have witnesses, not spectators. Acknowledgements: Mitia Aranda, Arquitect. (Funding Pending).  


samaria .  ometepe island . 2014 

I cover myself with charcoal, the same material I've used for years to draw self portraits. A middle aged woman and a girl wash the charcoal off my body at Samaria, one of the beaches of Ometepe Island, at Lake Nicaragua. This performative action was part of Altagracia Chamber Music Ensamble. Acknowledgements: Patricia Campos, Ileana, Ernesto Salmerón, FF Books.   

la poza . 2014 . collaboration with ghislaine fremaux  

The recent images of murdered women published by local newspapers, and the iconic photo of a torn corpse  taken by Susan Meiselas at Cuesta del Plomo during the sandinista uprising, were important references for this project. For the 9th Nicaraguan Visual Arts Biennial, I performed this action at Cuesta del Plomo in collaboration with american artist Ghislaine Fremaux. The documentation shows 2 women. One is battered, the other, upright and sensual,  watches and draws her decomposed body. Acknowledgements: Carlos Bravo and Ernesto Salmerón.   

Trauma helps tragedy become a driving force. My body carries trans-generational trauma. I´ve buried both of my parents and watch over their graves. I think of them as definite recipients of their trauma. I´ve buried myself in an attempt to embody this trauma and face it.   

tumba .  piedra quemada, masaya, nicaragua . 2014 

mamá . managua . 2013 

Matter of practice: I place my body in a disposable fashion and leave a mark on my city's landscape.  Like a milk bag or a piece of paper, like any other thing that after being looked at, lies  forgotten and exposed. 

Performative action at Barrio Cristo del Rosario, shore of Lake Managua. Acknowledgements:  Tony Bone McKenzie and Ernesto Salmerón.  

cristo del rosario . managua . 2014