The series is made up of ceramic ballistic plates that, even in their raw state, were shot with weapons of various calibers. The process—captured on video and in photographs—is exhibited in installations alongside the resulting pieces, creating a dialogue between action, documentation, and object.

This is another way of drawing: a monument to the tragic. A drawing projected into an expanded field of material and symbolic possibilities. Here, the pencil becomes a gun, and the canvas is a fragment of raw clay, whose thickness and earthy tones evoke human skin. The clay, by its nature, converses with the pre-Columbian ancestral tradition, while simultaneously engaging with the Western worldview of creation: humankind formed from earth and destined to become just this—“dust thou art, and unto dust thou shalt return.”

Shooting from the irrational is to embody the aggressor, the murderer; it places one outside ethical, moral, or judicial frameworks. A gesture that treads the boundary between violence and creation.