"I was born in San Salvador on February 8, 1956. Like all little kids I was fascinated experimenting with the textures of paper and what could be printed on it, but the desire to express myself through drawing and painting became increasingly stronger, and I loved to do it. As I grew older I observed that this enchantment did not desist, and thus as a teenager, I enrolled in the National Center for the Arts (CENAR).
Later I dedicated myself to advertising, but I didn't like it, as the anxiety to be a painter was already and is still established within me. I worked hard to study more, to investigate on my own, in a personal manner, possibly even in a systematic manner. But this effort allowed me to investigate and enter further into the world of the arts. Later I founded a gallery named Tlaolli, a place that allowed me to develop myself and make contacts with painters of my generation, as well as painters who already possessed a long artistic career, and I furthered my relationship with poets, musicians, theater people, dancers, actors, and other intellectuals who came to this alternative gallery. This happened between the years of 1980 and 1985, and greatly improved my ability to perceive the development and dynamism of the arts.
This profession of being a painter is both gratifying and paradoxically difficult. For me it is gratifying to be able to take and recreate part of reality through a poetic language, whether it be of my interior or of my surroundings, and be able to transmit it to a known or unknown public. This is a contribution to the development of the arts. Upon creating every one of my works I share with my country a language of sensibility through each theme, which provides me with aesthetic joy or the pleasure of connecting with a brush and a canvas, just like a photographer with his camera or a writer with his pen. All of this is a process of artistic retro-alimentation, and it is hard because it requires arduous dedication, which must be significant, and even semantic in order to fulfill my own hopes for artistic development.
The art worker may share the development of sensibility through a conscious historical outlook, and each of his works may be accessible to different social sectors. Considering that one characteristic of knowledge is that it is transferable, we should create art as an existential contribution, because art doesn't belong to just one person, it can enrich other generations or the interchange among colleagues of endless volumes of knowledge.
I've worked on some important projects in Argentina, Ecuador, Paraguay, and the United States. I have a lot of exhibitions on the street or in public places because I want my work to be consumed by the eye. I consider myself to be an intense muralist with a high level of discipline - this is my mission, my life, and my passion, to continue producing until all of my energy is spent. With Novica, I hope to take advantage of the technological space and participate with my images, in other latitudes, so that they may be consumed visually."