PREVIOUS PROJECTS
2010-2013

1. LEÓN RUGIDO, MONTE CONTRALUZ, ... NADA, 2011

During my walks through the countryside, I looked for remnants of trees. Eaten away by insects and transformed by weather and time, the pieces I found were biological remains that closely resembled dead animals. My work consisted in building a biography out of those fragments of nature. Rescued from their natural context, I would take them in and, over time, re-contextualize their meaning.

“Lion, roar, mountain, backlight, … NOTHING”

That afternoon I was driving north. Against the horizon, I saw the old, fierce mouth of a lion

mid-roar.

It was a monstrous vision that seemed to rise from the sunset behind the mountain,

like a backlit outline drawn with great precision.

I wanted to reach it, but as the distance disappeared, its aura and meaning faded too. Step by step, I realized that in getting closer, I was arriving at a reality that was

bare,

stripped of its original sense.

In the end, I found only two stones. I must say that the real model, at the beginning and at the end, was nothing.

Ash wood and graphite on wall. 95 x 26 x 30 cm

Ash wood. 180 x 95 x 81 cm

Ash wood. 80 x 95 x 81 cm

Ash wood. 180 x 95 x 81 cm

2. COMBUSTIÓN SOLAR

I began burning the pieces using sunlight through a magnifying glass. I was searching for an external form of intervention in which the medium—light—would be stronger than meaning, stronger than my own will. I was trying to extract something from that necrological photosynthesis between two materials: the dead wood and the intensified light, sealing a union in which the object and my own action would remain suspended somewhere else, in an unknown place. I was creating a wound on the palm wood I had assembled into various structures:

Four gates, like architectural structures and geological formations, onto which I traced written references to ancient Roman citizens, extracted from the ruins of Volubilis in Morocco.
Sections that, when joined, formed enormous columns, on which the light action drew thick lines that sealed the joints.
Pillars on which I engraved drawings from top to bottom that floated like infinite motifs with no beginning or end.

*No title*, 2012. Palm wood and sun light. 189 x 99 x 20 cm

*No title.* Palm wood and sun light. 189 x 99 x 20 cm

Palm wood and sunlight.

*Columnas (luz solar)*, 2012. Palm wood, 172 x 28 cm © Pedro Albornoz

*Columnas (luz solar)*, 2012. Poplar wood, 198 x 20 cm. © Pedro Albornoz

*Columnas (luz solar)*, 2012. Palm wood and sun light, 228 × 28 cm © Pedro Albornoz.

*Columna*, 2012. Palm wood and sunlight. 14,60 m.

No title. Palm wood and sun light. 335 x 34,5 x 6,5 cm.

Palm wood and sun light. 335 x 34,5 x 6,5 cm.

3. IMPRESIÓN DE FAMILIA, 2011

The coins used in this project have been altered to remove their commercial elements and leave only the cultural ones. Essentially, they highlight faces from the cultural history of the countries that mint them. Each country selects figures capable of creating strong ties of national identification.

In this way, culture is used in the service of purely political ends—as tools of propaganda and identity manipulation—while also being economically instrumentalized as commercial objects.

The project began in 2012, and its works were exhibited in 2013 at Kaskadenkondensator, Warteck pp (Basel, Switzerland) and at the Fondation Slaoui (Casablanca, Morocco), and in 2015 at Páramo Gallery (Guadalajara, Mexico) as part of the exhibition “Jacob and the Angel.”