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These recent works emerge from a cycle of digital collage and material process, rendered in 3D-printed forms that refuse to settle. Pop culture artifacts and childhood symbols are recontextualized, not as sentimental relics but as raw material, stripped of nostalgia. Errors accumulate in the translation from digital to analog and back again—artifacts of process rather than failure. Intention and production intertwine, neither opposing nor resolving, but generating new configurations. Plastics and metals persist beyond their function, forming new alignments, new taxonomies, new possibilities of being.
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🦴💧🥶🏚️
“What drips from the marrow?”
Drawing on the cabin from Evil Dead and the childhood riddle of an icicle-turned-weapon, this piece explores the unsettling fragility of ‘home.’ Suspended by bone and threatened by melting icicles, it reminds us that our illusions of safety can vanish in an instant, leaving only our mortal remains.
HyperPLA 3D print, digital collage of the cabin from “Evil Dead”, Humerus Bone, Icicles, mounted on steel hardware.
4x4.5x2.5in
2025
Artist’s proof (AP)
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😀👽🤖☣️
“Dave 8”
In this work, the familiar Minion is reimagined through the dual gaze of Janus—the Roman god of thresholds. Its hollow eyes beckon us to look through time, inviting us to see not just a face, but the passage from past to future, from innocence to a darker knowing.
HyperPLA 3D print, digital collage of Dave the Minion as Janus (in composition) & David 8 (in spirit) from the Alien franchise reboot, Praeto Facehuggers, mounted on steel hardware.
3.5x4x5in
2025
AP
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😀👽🤖☣️
“Dave 8”
Side View
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🧟💾♾️📚
“Data Rot”
“Podredumbre de Datos”
This sculpture stages the Crypt Keeper—a figure of horror and narration—atop books, themselves resting on a Sega Dreamcast VMU, a device once essential for storing progress. Together, they form an uneasy archive, questioning where we keep our memories and how we construct meaning from the detritus of media consumption.
The book and the memory card are both containers, but their functions diverge: one preserves knowledge with the weight of permanence, the other holds fleeting data, easily erased. In late capitalism, these references do not simply point to a past but act as artifacts of a system that cycles nostalgia into product, rendering memory itself a commodity. If childhood media once promised escape, this work suggests it was only ever a precursor to the horror of adulthood—where the stories we consume shape the anxieties we inherit.
HyperPLA 3D print, digital collage of The Crypt Keeper & SEGA Dreamcast VM, mounted on steel hardware.
2025
2x4x3in
AP
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☠️🔋
Power Cycle
This piece renders the violence embedded in extraction. The battery—emblem of supposed progress—contains the logic of obsolescence and military necessity. Its form is utilitarian, its function unquestioned, yet its presence marks the convergence of industry and death. The skull grins—not as a symbol, but as a mechanism—an inevitability built into the system it powers. The aesthetic of the machine merges with the language of authority, each bolt reinforcing a structure designed to endure, regardless of consequence. The future it promises is not clean energy but perpetual dependency, its charge drawn from elsewhere, always at a cost.
Guatemala, like much of Latin America, has seen this before. United Fruit’s grip on land and labor gave way to CIA-backed coups ensuring corporate access. Now, lithium replaces bananas, and technocrats expand power under the guise of innovation. Through government contracts, they secure carte blanche—freedom to extract without consequence. The pattern holds: where resources are found, intervention follows. Behind every militarized electric fleet is a supply chain paved with coercion. Wherever extraction occurs, death is close behind.
HyperPLA 3D print, digital collage of a 9V battery, human skull, car battery terminal.
4x1x1.5in
2025
AP
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“Back to the old house”
HyperPLA 3D print, American farm house, etched canvas on board.
4.25 x 8.5 x 0.75 in
2025
Drawing from the movie “Signs” and my own archive, the house becomes a threshold—a container of memory and myth holding an uninvited, preternatural presence. Here, its walls dissolve into an image drawn from the fields—a crop circle, an imprint of the unknown. The familiar structure holds an encounter with the extraordinary, suggesting that what we seek is not distant but nested within the spaces we inhabit. The unknown isn’t elsewhere; it’s already here, waiting to be seen. -
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“Back to the old house”
Detail shot -
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“My milkshake brings all the boys to the yard”
HyperPLA 3D print, digital collage of the “Beetlejuice” (The Maitland’s) house, King Boo’s spectral tongue, Grimace, mounted on hardware.
5.5x5x3.5in
2025
A figure stands at the threshold, grinning, expectant. Once a monster, now something softer—but no less consuming. Behind it, a house that cannot be left, a place both shelter and snare. A tongue unfurls, an invitation laced with hunger. Something is calling, something is waiting. What happens when the boys arrive? -
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“My milkshake brings all the boys to the yard”
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“My milkshake brings all the boys to the yard” -
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🩸🌊🦈
“Desire Flows Empty into the Sea”
HyperPLA 3D print, digital collage of the Bruce from “Finding Nemo”, a lighthouse, a droplet, mounted on metal hardware.
4x8x5in
2025
This sculpture presents a layered narrative where cinematic references blur the lines between control and chaos, instinct and reflection. The lighthouse, inspired by Robert Eggers’ The Lighthouse, symbolizes isolation, madness, and mythic descent, is given a queer reading— This is further reflected in Bruce, the shark from Finding Nemo, whose ironic mantra, “Fish are friends, not food,” both conceals and amplifies his latent violence.
The relationship between Bruce and the droplet—whether blood, semen, or water—embodies the mutability of desire, slipping between complex terrain where desire is both nourishing and dangerous. -
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“Desire Flows Empty into the Sea” -
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“Desire Flows Empty into the Sea”
