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UKG / 1974
From The Author of the Acacia Seeds
and Other Extracts


        These performances draw on and explore ritualistic tropes such as monotonous movements, meditations, chants and prayer-like gestures. These are blended with my Peruvian heritage, contemporary street culture, and music to create a unique aesthetic that seeks to replicate the embodiment theorized in Paleolithic religious practices like personifying ancestors, deities and magic through ritual and masking. These non-theatrical works invite viewers into an environment where my constructed rituals come alive, creating a clash of cultures between the old world and new.

        These mock rituals, unlike theater, have no climax or end; instead, they are constant in tone. As I brought my audience into an already active space where the entities I personified and the sounds I created removed me from reality, they became transparent ghosts within it. Through this exploration of a conscious space that connects my body to paintings, sculptures, and drawings alike, these performances become more than just art - they become experiential.

        My performances blend Peruvian heritage with contemporary street culture, and exploit ritualistic tropes such as monotonous movements, meditations, chants, and prayer-like gestures. My public performance titled "Self, Ego, Soul" at California College of the Arts San Francisco in 2013 featured drawing on a large sheet of paper while ominous low-frequency sounds played through three speakers set up inside black solidified fabric pieces. These mock rituals have no climax or end; instead they bring the audience into an active space where entities I personify and sounds I create remove me from their world. This connects my body to my paintings, sculptures and drawings in a conscious space that explores these connections.