Evil influences
Graphic intervention on cotton paper. Colored pencils, markers, graphite, and acrylic. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on cotton paper. Colored pencils, markers, graphite, and acrylic. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on cotton paper. Colored pencils, markers, graphite, and acrylic. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. 
Graphic intervention on linen. Transfer on canvas and oil. 30×40 cm. Through the manual use of colored pencils, graphite, Indian ink, markers, oil, or materials such as bleach or vinegar, I intervene in photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous.
This is a graphic intervention project based on my family photo archive. Using colored pencils, graphite, India ink, markers, oil paints, and materials such as bleach and vinegar, I intervene in the photographs as a way of creating new possible realities based on my obsession and fascination with the anomalous. Inspired by the apocalyptic vision of the Catholic religion, which I served for twelve years as a child altar boy and having been raised in an extremely religious environment, I grew up disturbed and violated for being who I was because of my sexual orientation. My identity was clouded by the prejudices and guilt imposed by religious doctrines and the family system. Throughout my life, the symbol of the monstrous and the abnormal was the only image with which I could feel empathy due to rejection.
Malignant influences allow me to construct an alternate world without guilt, paying homage to the family album, one of the main artifacts of fiction in our lives, which generates our identity over time and also reflects on systems of silent violence such as the church and the family.
This project features the beings that inhabit my head, who do not hide or remain silent, but show themselves in all their monstrosity. They speak with multiple voices, asserting their difference. Thus, with their language without grammar, they refuse to be condemned to silence.
