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Morning Mist, 2018
Prayer Wheels, 2018
Monks and Music Practice, 2019
Little Monk Playing, 2019
Black Crane Valley, 2019
Great Buddha Dordenma, 2018
Intricate Dance, 2019
Drum Ceremony, 2018
Nuns, Drums and Prayers, 2018
Devotion, 2018
Echoes of the Soul, 2018
Druk Wangyel Festival, 2018
Tigers Nest, 2019
Kezang’s Mother Footprints, 2018
Yungdrung Choling Palace, 2018
Mo Chu River (Female River), 2019
Snow Lion, 2019
Nunnery, 2019
Praying Wheel & Old Man, 2019
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Morning Mist, 2018
Prayer Wheels, 2018
Monks and Music Practice, 2019
Little Monk Playing, 2019
Black Crane Valley, 2019
Great Buddha Dordenma, 2018
Intricate Dance, 2019
Drum Ceremony, 2018
Nuns, Drums and Prayers, 2018
Devotion, 2018
Echoes of the Soul, 2018
Druk Wangyel Festival, 2018
Tigers Nest, 2019
Kezang’s Mother Footprints, 2018
Yungdrung Choling Palace, 2018
Mo Chu River (Female River), 2019
Snow Lion, 2019
Nunnery, 2019
Praying Wheel & Old Man, 2019
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Bhutan

“From within the Land of the Thunder Dragon”

Following the reflection that has directed my artistic narrative so far, particularly matters andquestions dealing with timeless aesthetic feelings, this new body of work brings to light a novelcontour in my artistic output.In Bhutan, the Land of the Thunder Dragon, where myths are true and history is a journey intolegend and folklore, I found the narrative to share my vision and understanding of the mixedelements hidden in the history of my native country, Mexico, land of Quetzalcoatl, the featheredserpent.To better understand the series, I invite the viewer to take into account my personal history: I amMexican by birth, but spent more than twenty years living between North America and Europe. Thisgives the project a unique dimension: finding similarities of my culture in other cultures around theglobe.This body of work becomes my way to explore time throughout the similarities between Bhutanand Mexico that I found during my journey within the Land of the Thunder Dragon. The bond ofproximity between these two countries portrays a different way of thinking about distance andsense of longing, while representing the experience of an absence of a common history, but,contradictorily, sharing an analogous physicality. Memories of my past overlap time in a kind ofcommunication that is quickly fading; nevertheless, they are also expressions of a past where thisexchange of cultural heritage and timeless elements are intertwined.Time within the photographs emerges manipulated to confuse the viewer, to depict howexperiences, even the more prosaic ones, are inscribed in the fabric of my existence and memory,consolidating my personal narratives. These timeless aesthetic results over the images areintended to create an illusion of happiness, to cover and disguise the awkwardness of the humanstruggle when faced to another society’s culture.Bhutan has been an exploration of an identity that intrigued me, rooted in the country, itsinhabitants, culture, traditional values, and customs. This exploration materialized a reconciliation ofseemingly distant and diverged cultural homes that allowed me to form a new multilayered reality.