the  Rojo Urbiola Fundation, AC., action that we saw not only did not interfere with our professional projection but ratherr multiplied. In that year we chaged our residencce to Galicia Spain, and is in this period (2005-2007) whengradually achieve the union between my aesthetic dicourse and the knowledge and manufaturing abilities of the objetual design performing pieces like flames, Horizons serie, Hades column.

2007 becomes the year that I reached to see the work as a whole that works together since the mental  creation,  their  realization,

until it is observed by the viewer. It is at this moment where the connotations that was been printed to the aesthetic object becomes the genetic network that supports the content and the container in such a way that causes a discourse line on which the receiver rests their own experiential packages, turning all in a live code.

They are from this period, works such as the West Window, The Way Aztlan, visual container I, Formula Aesthetics for the equation of Chaos, and finally the srie G II, Metamorphosis of a Virus Timber project being left alone at the experimental level. 

In  2008 I go into the  volume. The item or idea that has been leading is SPACE, this is how even during my time as a fellow in the CIEC ( International Centre of the contemporary Print) withing a printings production I experiment with volume  and  make  wath I  have  called Foulded Souls -lectures with Virgilio, however I feel the printing production in myself as a sort of training or an experimental space  for the speech to take it to other plane.

On my back to México I  have  the  opportunity  to  work  in

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 the  CAMILLECLAUDEL pottery workshop and that's were is producedthe total transformation of what have been happening slowly in me. Leap formaly to sculpture and take as a central subject in my creation THE DEATH. Then arise primarily plates with low reliefe, but quikly switch the production of skulls, and then grows the considerations of these theme to become which has ocupied me from 2009 to 2011 with the  MICTLANTECUTHI -Amehuatzin Uelcamatili serie (Dear Great Lord GOD OF THE DEATHS).

Since the completion of Tzompantli to fabrication our own kiln, grow the expectations not only of production but of size and possibilities of projects, so MIKISTLI MEMORIAL arise, the TAMEMES, the ENTREATS and finally the TZOMPANLTI 2011 as some of the following points of arrival to the path that I frame.

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 August 2011 became a new turning point, we changed our residence to a small town called Bucerias, in the Banderas Bay , in La Ribera Nayarit , near Puerto Vallarta, accepting the invitation to join as a professor at the Ceramic Center CONTEMPORARY TUNA.

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