The Report On Unidentified Flying Objects is an intervened book, part of a three-year project, Difference, in which I explore the gap between reality, perception, and representation when a person moves from their land to new territories. In this book intervention, I use the figure of the artificial bird to represent the one who leaves their homeland. The book's title refers to the voyager's integration into the new context, the connection with the geography, and those who inhabit it.

Each photograph's mat is made from pages taken from a Spanish grammar book that analyzes the comparative structures of the language. The presence of Spanish words intertwines with the English text of the intervened book. Ultimately, verbal language is one tool that allows us to connect with the new space and accompanies us on the journey to a new territory.

Proyecto apoyado por el Sistema de Apoyos a la Creación y Proyectos Culturales (SACPC).

I photographed bird cards from a Canadian board game and Mexican stationary bird monographs. I made diptychs where I inserted one of these representations of birds in different Canadian landscapes. In the first two pairs, one photograph shows an English-named bird and another with the name in Spanish. These bird images are set in the middle of the Canadian landscape. In the other two, only the bird species changes. In the first case, the two languages refer to the outsider's presence and how the locals and the foreigners coexist on one piece of land. In the second case, the simple change of type of bird refers to assimilation and the inevitable difference that does not cease to exist and marks how we see, how we are seen, and the degree to which we understand and are understood.

Proyecto apoyado por el Sistema de Apoyos a la Creación y Proyectos Culturales (SACPC).

I photographed different artificial birds in front of an open landscape of Lake Ontario. I use the figure of the bird flying to refer to displacement, mobility, and the act of migrating. The diptychs are the images I used to make lenticular prints that would allow for anamorphic viewing as the viewer will see the bird in one place and position from one angle and another if we continue the path through the exhibit hall. The idea of how our perception depends on where we stand when observing others is continued in the eight double-faced birds' small images that the viewer can see through a transparent globe and that are accompanied by images that are traces of the past, the displacement, and what I have left behind.

Proyecto apoyado por el Sistema de Apoyos a la Creación y Proyectos Culturales (SACPC).

The Stone in the Snowball is based on Ximena Berecocha’s reading of the novel Fifth Business (1970) by Canadian writer Roberson Davies. This is a continuation of her interest in image and literary intersections by visually materializing her personal reading and interpretation of one of the most notable Canadian novels of the twentieth century. Through this work, Berecocha wants to acknowledge the cultural roots of this country from her diasporic perspective. As a Mexican- Canadian citizen, she delves in the concepts of recognition, assimilation, and interpretation, and she acknowledges and honours the cultural realm of the land that has become her new home. Besides the interest in the structure and the potential of language constantly depicted in her art-work, the use of two forms of expression, in this case, taking a literary work as the foundation for her installation, enables her to question the notions of delimitation and confinement. Berecocha’s hybrid art-work exemplifies—in a formal way—how fostering the exchange between two realms, may expand one’s horizons.

These images explore the notion of memory and the dialogue between past and present.

I was invited to be part of an exhibition where seven visual artists in Toronto would respond to poems by Leung Ping Kwan. These three images come from the poem "Catching a Squirrel" (1979), by the memorable Chinese writer.

The poem can be found on this link.

As part of an exhibition about wildlife in Canada, this series of photographs presents the evidence of human vulnerability in the face of an overwhelming nature. The starting point is the minimal portrait of that battle, in all its cruelty.

This project was developed for an exhibition at Spadina Museum in Toronto. The Spadina House was once a private shelter for a Canadian family. In the uninhabited spaces we see the recreation of a daily life, its intimacy and trivial moments. Despite being uninhabited, there are minimal traces of the previous life. The house in the house inserts an alternate story thus unfolding a space within this public space.

This series takes the tale of the Brothers Grimm to explore the process of the imagination through a visual proposal based on subjective associations from the reading of the classic story. Other aspects related to the approach to such a widespread text come into play; for example, to overlook elements that are obviously grotesque or perverse due to automated reception.

Eighty-one portraits make up a polyptych that refers to the coexistence of a group of Mexican and Canadian artists in a program of creative exchange in the city of Mérida, Yucatan. Ten writers and ten photographers gathered in the same city, share an extreme climate, and a strong desire for communication hampered by their different languages and cultures.

Three moving cylinders that spin slowly show a couple dancing. The pieces refer to the experience of the senses.

Through the staging of a series of dialogues taken from a textbook to learn French, this series revolves on the possible relationships that can or can not be established between text and image. The various feasible receptions of these photographs with text highlight particularities of each of these forms of signification. The location of the shots in the desert of Cuatro Ciénagas, Coahuila, as well as the inclusion of an additional text foreign to the dialogues, both amplify the absurdity and decontextualization of the mise-en-scène.

This work deals with the referential character of the photographic image from the intentional generation of blind spots -in a metaphorical sense- in clearly presented settings. The desert landscape of Cuatro Ciénegas in the north of Mexico serves as a scenario that enhances the information gap in the built scenes.

Produced in Banff, Canada, this series continues to explore reversed role-playing. Who is commonly the active subject observing is presented as the observed object. The series is divided into three parts, which include the resignification of recognizable icons, the classification of everyday activities and the questioning of reality through the permeability between three-dimensional referents and two-dimensional representations.

As a continuation of the previous work: Animal, in this series man is presented as an object of observation. A dislocated discourse in which the subject-object roles are reversed is exposed through a slideshow in which fourteen images are randomly repeated. This production sets a preamble of the following series: The others.

Through documented actions and a visual discourse, this project explores the boundaries between instinct and reason. In a narrative whose main character is the animal figure, a series of steps are registered. As in a palimpsest, the original coherence of the elements shown is erased in order to imprint a new logic.

This photographic series is the result of an interest in perception and altered states of consciousness. Some of the formal features of this work are the representation of solution of continuity and a sense of time as well as the manipulation of perspective. In some images there is a rupture with the links between the visible and their meanings, in others it is evident our state of transit or ephemeral nature.