Kavanayén. Guayoyo. 2026 Acrylic on found wood 27 × 18 x 27 in 68 × 45 x 68 cm
Kavanayén. Guayoyo. (Becoming Tangible)
Transforms wood collected during walks along Iguana Beach, Nicaragua, into a piece that exists between a table and a lamp, evoking the everyday rituals of home.
Light, rest, and guayoyo—a traditional Venezuelan coffee—become symbols of memory, diaspora, and belonging.
Here, Kavanayén takes tangible form, illuminating the search for home through the objects that accompany daily life.
Kavanayén. Palma Mágica. 2026. Acrylic on palm. 7 × 18 x 2 in 45 × 18 x 5 cm
Kavanayén. Palma Mágica. (Becoming Tangible)
Found on a walk along Iguana Beach, this curved palm frond became a self-standing monument to movement and belonging.
Its natural flexibility inspired a scene where Charli and I appear intertwined, suspended between memory, companionship, and the search for home.
Part of Kavanayén: Becoming Tangible, where discarded materials are transformed into carriers of personal history and diaspora.
Kavanayén. Niña buena niña mala. Río Orinoco. 2026 Found tree trunk, acrylic 27 × 8 × 13 in 68 × 20 × 34 cm
Kavanayén: Niña buena niña mala (Becoming Tangible)
Kavanayén: Good Girl Bad Girl (Becoming Tangible) emerged from a large tree trunk found during a walk in Nicaragua, in the middle of an unusually absent rainy season.
The piece presents two opposing faces: one luminous and one darker, connected to different emotional memories between my mother and myself.
The title refers both to the idea of the “girl” and to the climate phenomenon El Niño, whose impact on climate and territory is becoming increasingly present within the Nicaraguan landscape.
Here, landscape stops being representation and becomes body, memory, and tangible matter shaped by emotional and environmental imbalance.
Kavanayén. Territorio fertil. Río Orinoco. 2026. Acrylic on adobe. 7 × 7 x 5 in 17 × 17 x 13 cm
Kavanayén: Territorio fértil (Becoming Tangible)
Nace de un porrón de adobe abandonado encontrado durante una caminata por la playa en Nicaragua.
La pieza reflexiona sobre la posibilidad de transformar lo descartado —objetos, memorias e incluso infancias difíciles— en algo vivo, fértil y lleno de potencial.
A través de dibujos circulares sobre adobe, el objeto recuperado deja de ser basura y se convierte en territorio emocional, memoria y renovación.
Kavanayén. Pistola de agua y arcilla. Río Orinoco. 2026 Acrylic on wood and clay 13 × 7 x 2 in 33 × 17 x 5 cm
Kavanayén: Pistola de agua y arcilla (Becoming Tangible)
Nace de un fragmento de madera encontrado durante una caminata por la playa de Iguana, Nicaragua.
La obra parte del contraste entre la madera endurecida por el tiempo y la arcilla suavizada por el agua, reflejando la tensión entre supervivencia y vulnerabilidad, permanencia y transformación.
A través de dos narrativas opuestas, explora cómo la memoria, la diáspora y el desplazamiento moldean la infancia y transforman la búsqueda de hogar en una travesía permanente.
Kavanayén. Light my journey. (Zara y su mamá en el Arca de Noé). 2026. Found object and acrylic made in Mexico. 18 × 30 × 25 in 46 × 12 × 10 cm
Kavanayén: Light my journey (Zara and her mother in Noah’s Ark) (Becoming Tangible)
A found lamp is not just an object—it is a small act of survival made visible.
Mother and daughter reach for each other without touching, holding distance, care, and longing at once.
Light becomes landscape: something that stays on, something that quietly shows the way home.
Kavanayén. Un trocito de mi árbol. 2026. Found object and acrylic made in Mexico. 15 × 16 × 18 in 37 × 16 × 18 cm
Kavanayén: Un trocito de mi árbol (Becoming Tangible)
A tree was cut. It couldn’t defend itself. This is what’s left.
A fragment carrying the violence we choose not to see.
Not debris—something that still matters. Still here. Still asking to be seen.
Kavanayén. Ponme tu flor. Río Orinoco. 2026 Gouache on ceramic 5.5 × 6 × 5 in 13 × 15 × 12 cm
Kavanayén: Ponme tu flor (Becoming Tangible)
Kavanayén expands beyond the pictorial surface, allowing landscape to take on physical presence.
Painted gestures migrate into objects that occupy space, activating a sensory encounter with memory and displacement.
Through this material shift, the imagined territory becomes something felt, inhabited, and real.
Kavanayén. Arbol caído. 2026. Found objects, dead branches, acrylic made in Mexico. 16 × 7.5 × 5 in 40 × 19 x 12 cm
Kavanayén: Árbol Caído (Becoming Tangible)
A fallen tree is not just a form—it is the violence of tree cutting made visible.
Branches, collected from the streets of Mexico, return as fragments of what once lived.
Landscape becomes object: something you can stand before, something you can feel.