During my Bachelor's degree in Fine Arts, I received an education rich in critical reflection, literary resources, and marketing knowledge, along with a collection of invaluable formative anecdotes. However, despite the extensive workshops equipped for artistic production, I noticed a lack of technical teaching in painting and drawing, particularly in working with live or plaster models. This gap can be attributed to the prevailing trends in Latin America, influenced by Mexican muralism, German expressionism, and French conceptualism.

Personally, I was drawn to French naturalism and neoclassicism, perhaps a reflection of the Eurocentrism rooted since colonial times. Upon completing my studies and eagerly establishing my own studio, my friend Ian, educated in Philadelphia, shared with me his experiences in a more rigorous approach to working with live models. My own experiences were limited to quick sketches, often marked by insecurity and haste.

When I finally opened my studio in Mexico City, Ian suggested fostering the practice of drawing and painting with models, proposing extended sessions that would accumulate over 40 hours of work. Initially, the idea seemed excessive to me, not only due to my inexperience but also because of the unusualness of this practice in our city.

With the goal of exploring this idea and its viability as a business, I launched the "12h Project", which consisted of working with a model in the same pose for four three-hour sessions. As part of this project, I started a painting that, to emphasize the process, was covered with a layer of black paint at the end of each session, restarting the work in the next. Surprisingly, the project had to be concluded prematurely when, in the third session, a spectator fell in love with the work in progress and decided to purchase it.

Following this experience and seeking to deepen my skills, I decided to temporarily pause painting to focus on drawing within the "12h Project" at Atelier Mesones, under the guidance of Remi Cárdenas, who provided an enriching vision to my artistic practice. Since then, I have created almost one portrait per month, each reflecting a new level of understanding and appreciation of the human figure.