This group of paintings comes from ongoing research into the Puerto Rican Pottery Corporation in Santurce, particularly the sgraffito marks designed into clay objects. The pottery was produced by anonymous workers. Their marks survived. Their names did not.

Who controls what gets through and what doesn't?

The objects carry the contradictions of industrial craft under colonial modernity: handmade vessels produced within systems of extraction, tourism, and export. In many cases, the marks themselves feel like the most direct evidence of the people who made them. Craft on the margin. A hidden message as the only honest legacy.

These paintings extend that inquiry through a reduced visual vocabulary centered on the X, derived from a recurring sgraffito form found on the pottery. Built in layers of cold wax on canvas, the works use the X as a simple form capable of holding contradiction: connection and division, pressure and restrain

The series considers opposition without resolution: connection and separation, visibility and disappearance, containment and rupture. Rather than offering fixed meanings, the paintings hold tension in place and ask how meaning is constructed, obscured, and carried forward through form.

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