Over time I have worked on different projects for the UNAM (Universidad Nacional Autónoma de México), designing the visual identity for art exhibitions at MUAC (University Museum of Contemporary Art) and MUCA (University Museum of Science and Art), as well as for FICUNAM (International Film Festival UNAM). Within the scope of cultural institutions and museums, I have also developed projects for Carrillo Gil Art Museum in Mexico City, WIELS Brussels and the Walker Art Center, among others.

Most of my work, however, has been developed within the framework of editorial projects and music, including festivals, records and record labels. I've done artwork for labels such as 4AD, Denovali, Ghostly International, EMI, Sony Music and Thrill Jockey. I have also designed for musical-instrument brands including Make Noise Synthesizers and did the global and local campaigns for the international electronic music festival MUTEK (Montreal, Mexico City, Tokyo, Barcelona, San Francisco and Buenos Aires). In the editorial field, I have developed books related to art, gastronomy and tourism with Travesías Media publishing house, and experimental film publications with Interior XIII, to name a few.

In addition to my visual work, I own Umor Rex, a record label which I founded in 2006. Umor Rex has been, in all human and artistic aspects, an extraordinary and generous platform for me. It holds a rewarding balance between music curatorship and art direction, and it serves the very important purpose of talent disclosure and publication.

Umor Rex hosts a wide range of sounds —from eerie electronic atmospheres to avant-garde and other forms of experimental music. The label has more than 145 registrations so far.

There are three main elements around my visual work. The first one is Classical geometry, with the seven basic shapes and their relationship to surface. Next is an expressive color palette, albeit reduced in variants for each exercise; sometimes primary colors are born from natural relationships with the content, but often I go through a comparative review with the compendium of Haishoku Soukan. Finally, typography. When it comes to an editorial product, I’m always looking for the best integration between aesthetics and understanding.

When typography is present in my artwork, each letter is a small species within a larger ecosystem. I often try to set a direct dialogue with historical aesthetics, which can range from Modernism (Functionalism as an aesthetic, and aesthetics as a means to something) to the Greco-Roman culture, touching on archival documentation, such as old technology instructions, decrees and historical letters or academic publications.

© Mexico City 2022