The “Tríptico Infame” (“Infamous Triptych”) is a look at the colonial devices, the technologies of confession and the rigid discipline that operated in the production of a redemptive iconography. 

The piece intends to establish a hybrid relationship between severity and lightness, between sculpture and furniture, from a division between that which forms the order of function and that which, desecrating it, establishes dialogues not only with decolonial hyphenation, but also with contemporary aesthetic discourses.