Social Commentary Collection

48 x 48 x 3 inches Acrylic and mixed media on deep-edge stretched canvas | Real bullet shells | Unframed | Finished edges | Ready to hang Free U.S. Shipping | Ships securely in a box   Child Soldier is part of the ongoing series The Gardens of Impunity — a body of work that confronts violence with beauty, truth, and resistance. This piece centers on the silhouette of an armed child, inspired by the thousands of young lives conscripted into armed conflict around the world, particularly in the artist’s native Colombia. Painted in veiled layers of acrylic and collage, the child stands anonymous, weapon in hand, his future swallowed by a war he did not choose. On the left edge, a vertical garden of stylized flowers made from real bullet shells emerges from a crimson background. In the artist’s work, flowers are always symbols of hope — a quiet refusal to let brutality erase the potential for rebirth. Subtle textures and dripping whites suggest innocence blurred and washed away. Grenade forms and target marks haunt the background, while the names of countries that continue to use child soldiers are embedded throughout the layers, visible only to those who take the time to look. This painting was featured in the advertising for the American Red Cross’ Clara Barton International Humanitarian Law Competition, underscoring its message as a powerful visual commentary on justice, memory, and the protection of vulnerable lives. Mood: Confrontational, mournful, symbolic, resilient Main Colors: Crimson red, ash gray, charcoal black, muted earth tones Inspiration: A tribute to the children lost to war — not only in Colombia, but globally — and a visual plea for justice, memory, and change. This is not just a painting; it is a protest, a memorial, and a seed of hope.

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48 x 48 x 2.5 inches Acrylic and mixed media on deep-edge stretched canvas | Real bullet shells | Unframed | Finished edges | Ready to hang Free U.S. Shipping | Ships securely in a box Honorables Asesinos (“Honorable Murderers”) is a companion piece to Child Soldier, part of the ongoing series The Gardens of Impunity — a body of work that confronts violence with beauty, truth, and resistance. In this painting, five towering human-like figures stand side by side, anonymous and imposing, with elongated legs that lift them above the rest — a metaphor for unchecked power and moral detachment. Their torsos are adorned with red bowties, each pierced with a flower crafted from real bullet shells. The juxtaposition is deliberate: elegance masking brutality. This work was created in response to the endemic corruption and state-sponsored violence in many Latin American countries, especially the artist’s native Colombia. The “honorable” exterior of politicians and elites conceals the hands of those complicit in murder, displacement, and impunity. These are not protectors of the people — they are decorated executioners. Paint drips, ghostly textures, and a stark white background evoke a sense of erasure, as though the truth has been scrubbed away. Yet the figures remain, haunting and unapologetic. The bullets-as-flowers motif, seen throughout the artist’s work, symbolizes the ongoing resistance to forgetting — and the audacity to imagine justice blooming from violence. Mood: Stark, accusatory, symbolic, unmasking Main Colors: Bone white, raw umber, charcoal, muted crimson Inspiration: A visual indictment of political violence and the culture of impunity that enables it. Honorables Asesinos is not just a painting — it is a confrontation, an unveiling, and a demand for accountability.

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24 x 48 inches Oil on canvas | Framed | Finished edges | Ready to hang Free U.S. Shipping | Ships securely in a box Amaos los unos a los otros? (Do you love one another?) A bold and emotionally charged painting that confronts the gap between religious teachings and lived reality. The title references the words of Jesus — a commandment to love one another — yet the question mark at the end flips the phrase into a challenge, a provocation, and a mirror to society. Set against a chaotic, richly textured background of saturated reds, yellows, blacks, and blues, the painting features a decorative metal cross at its center — a symbol of faith, tradition, and power. But rather than offering comfort, the cross feels suspended in tension, caught in a space between divinity and doubt. This piece questions the moral authority claimed by organized religion, spotlighting the hypocrisy that often hides behind dogma. It asks: Do we really love one another? Or do we use belief to elevate ourselves, to judge, and to exclude? Through layered color, raw texture, and spiritual symbolism, the artist challenges the viewer to examine their own sense of morality, not through scripture, but through action. Mood: Reflective, confrontational, spiritual, critical Main Colors: Crimson red, ochre, teal, black, white Inspiration: A visual meditation on religious hypocrisy, moral superiority, and the urgent need for authentic compassion. Amaos los unos a los otros? It is both a question and a demand — one that remains painfully relevant. This painting was exhibited at the Amsterdam Whitney Gallery in New York City and was featured in its Art Collector Magazine.

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48 x 48 inches Oil and mixed media on canvas | Antique furniture tacks | Unframed | Finished edges | Ready to hang Free U.S. Shipping | Ships securely in a box Al Sur (To the South) is a richly layered mixed-media painting that maps not just a continent, but a legacy of struggle, resistance, and exploitation. With an aged, weathered surface and a patchwork of bold color, the canvas bears the outline of Latin America — torn, stitched, and bordered by antique furniture tacks that evoke centuries of wounds and endurance. The painting is filled with symbolic and collage elements: torn newspaper clippings, faded signs, and religious imagery that reflect the ever-present forces of violence, faith, and corruption across many South American countries. At the top, a green arrow marked “AL SUR” and a cryptic news clipping point toward the north — a direct reference to the historical and ongoing manipulation of Latin America from first-world countries. The surface, deliberately aged and textured, conjures the feeling of a relic — something unearthed, preserved, and still bleeding truth. Despite its chaos and fragmentation, Al Sur resists silence. It speaks of memory, displacement, and the invisible forces that shape entire nations. Mood: Political, historical, weathered, symbolicMain Colors: Earth brown, rust, deep crimson, emerald, gold, charcoalInspiration: A raw and poetic portrait of Latin America — its beauty and its pain — and a fearless commentary on foreign intervention, religious control, and systemic corruption. Al Sur is not just a painting; it’s a layered cartography of power, suffering, and survival.

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21 x 21 inches Acrylic on canvas | Unframed | Finished edges | Ready to hang Free U.S. Shipping | Ships securely in a box Currently on view at the Sumex XXI Exhibition, Consulate General of Mexico, Coral Gables, Florida De Sol a Sol (From Sun to Sun) is a visual tribute to the immigrant workers whose labor sustains entire nations — often silently, often invisibly. This intimate piece honors the dignity, strength, and endurance of those who rise with the sun and work until it sets, building lives and futures while too often being overlooked. Painted in rich layers of acrylic, the piece captures the emotional weight and quiet resilience that define the immigrant experience. Earth tones and warm, worn textures speak to lives shaped by sacrifice, while subtle marks and shadows suggest the passing of time — a life of repetition, toil, and perseverance. Created for the Sumex XXI exhibition at the Mexican Consulate in Miami, this painting stands as a refusal to look away. It asserts that behind every structure, every harvest, every brick, and beam, there is a human story — and that story deserves recognition. Mood: Honest, reverent, reflective, dignified Main Colors: Burnt sienna, ochre, muted gold, earthy reds Inspiration: A heartfelt homage to immigrant laborers. De Sol a Sol is a declaration of worth, a quiet protest against invisibility, and a reminder that to be human is, and always will be, enough.

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20 x 20 inches Acrylic on canvas | Unframed | Finished edges | Ready to hang Free U.S. Shipping | Ships securely in a box Living Under the Ashes is a visual meditation on the devastation of war and the fragile persistence of life within it. Painted in textured layers of acrylic, this work depicts a city engulfed by fire and shadow — a haunting reflection of the destruction faced by civilians in Gaza. While the painting captures the chaos of bombardment, it also centers the quiet endurance of those who continue to live amid the ruins. Ashes fall like a second skin, covering everything, yet traces of light push through the haze — reminders that humanity does not vanish in the face of violence. This piece is a witness to suffering, to survival, and to the moral cost of silence.  Mood: Haunting, urgent, mournful, resilient Main Colors: Charcoal black, ashen gray, smoke white, fire orange, muted crimson Inspiration: Created in response to the ongoing humanitarian crisis in Gaza, Living Under the Ashes reflects the emotional toll of war, censorship, and collective silence. It is a quiet protest — and a call to remember.

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