This project marks the first phase of my ongoing sculptural investigation into memory as a spatial, bodily, and material system. It introduced the foundational logic I continue to develop: architecture not as built form, but as a temporal interface—a way to record, displace, and reconstruct memory through embodied gesture and transitional form.

Developed between 2013 and 2018, Theory of Transition began with the documentation of architectural ruins across my hometown—103 houses in states of suspension between presence and disappearance. I collected photographs, video, soil, and structural fragments from each site. These incomplete structures—exposed, interrupted, unstable—reminded me of Matta-Clark sections. They became a framework through which I began to explore my own collapse and reconstruction.

By 2016, I realized I had memorized many of these sites through the repetition of walking. I began drawing their floor plans from memory, guided by the proportions of my body. These gestures—at once generative and erasing—became the basis for a full-scale sculpture built with steel I could bend and soil drawn from the sites.

I called this method Theory of Transition, structured around three temporal phases—Destruction, Habitation, and Reconstruction—a conceptual model reflecting the instability and layering of memory itself. The sculpture was influenced by Kiesler’s Endless House, rejecting fixed geometry in favor of continuous, unstable space. It followed the logic of movement, bodily scale, and psychic necessity. This was my first attempt to construct memory as architecture: fragmentary, embodied, and always in transition.

Theory of Transition (2018)

Destruction, Habitation, Reconstruction 

Installation: Video, Graphite on drywall, steel, displaced soil, water. 

Museo de Arte Carrillo Gil, Mexico City