Paintings to
see with time

It is a moment of joy and innocence amidst deprivation. In a peripheral neighborhood of the city of Lima, a group of children runs after a soccer ball, while precarious houses made of wood, mats, and exposed brick rise behind them. The painting exposes the paradox of a childhood that, even traversed by poverty, finds in play a territory of freedom. The work is a tribute to the collective memory of human settlements, where playing on the makeshift pitch becomes a symbol of belonging and identity.

The figure of a young woman walks among the ruins of a devastated city; in the midst of the hostile landscape, the protagonist advances. The character is inspired by the figure of the artist's daughter, whose presence is monumental. The work articulates a narrative of hope: when all seems lost, the drive not to surrender can be found in a single figure—a woman, a mother, a daughter. It concentrates the idea that the feminine is strength, leadership, and resistance.

I see woods and stars. A kind voice consoles me, tiny under the highest sky, forgetful and rarely sad, marching under the wide sky. If someone wanted to pamper me, they would no longer know how to understand me, I carry my heart buried, I walk because I wear boots and I have forgotten everything, except walking.

Or are there no flowers on the horizon and a landscape so placid where I can sit down and cry? Adapted from Erich Maria Remarque

The sun set on our promises explores the intensity of human bonds during disagreements. In the center, a wounded woman in an evening gown stands as a figure laden with desolation and sorrow, while a man in the shadows turns his back on her. The scene is set in a polluted, ochre sunset over the remains of a city. The light and surroundings in ochres and oranges suggest tension in what was once an affective or social pact, reinforcing the metaphor of a sun going down on promises made. The woman, under a white spotlight, and despite the visible wound, holds a firm gaze toward the horizon, representing resistance in the face of betrayal and abandonment.

This work raises a reflection on the fragility of existence and the human capacity to resist in the face of devastation. The central character is a surviving ex-soldier of war. He holds a flower in his hands, as a gesture of vitality that contrasts with the reality of violence and the harshness of death in the context of war. Behind him, the ruins of a temple can be seen, a setting that represents a paradigm shift, the fall of what is sacred, the collapse of the strongest beliefs.

The last heroines is born from images shared in real time during the early phases of the Israeli occupation of the Gaza Strip. In the work, two young women appear in a burning environment, one with torn clothes and the other holding a stone in her hand. Their gazes convey astonishment, fear, and determination alike. The protagonists represent feminine resilience in contexts where daily life is interrupted by violence. Their bodies, exposed to vulnerability, are also emblems of resistance. The saturated atmosphere of reds and magentas intensifies the sense of danger and urgency, but also gives the figures an almost mythical dimension. They are the last heroines, because, despite the destruction, they remain alive and standing, looking toward the future.