This work, made up of a commercial metal structure, graphics of various formats and symbolic materials, aims to condense various reflective lines. The metallic structure recreates the iconic tricycle, used by all kinds of merchants with limited resources and little power. This is saturated with graphics and texts referring to the internal armed conflict that occurred in the country, although it delimits its reference to the place and time indicated in its title.

 

This time segment is delimited by two events: one internal and one external: the first is the birth of the author, the second, the capture of Abimael Guzmán on September 12, 1992: thirty years before the assembly of this exhibition. Graphics, in addition to their "representational" interest, have an exploratory interest at a formal level.

 

The author considers linearity as the ideal vehicle for externalizing interiority, for introspection - communication. They refer to the urban experience, sometimes through the appropriation of syntax recursives present in pre-Hispanic artifacts such as Paracas cloaks. Materials play an important role in this work. Allegorically used, and trying to establish a dialogue that aspires to unitary syncretism, broken glass is presented, metallic elements that intersect with the graphics, a package suspended from the ceiling over the tricycle seat, again the horsehair, electric cables, a pair of red candles, and a megaphone in national colors that emits sounds integral to the work. In the cut and burned districts of the city, another reflective line is spilled through textuality, of an interior and fetishist nature. Possible reflections of a poorly constituted psyche that seeks to be relevant and arouse interest, a subconscious probably marked by the precariousness of life in a city like Lima, where people like me, with limited resources, few expectations, and no power, embody mental pathologies pregnant with an environment marked by aggressiveness, selfishness, informality, lack of time, abuse, exploitation, corruption, injustice, impunity, dysfunctionality and radical absurdity.

 

In this sense, the work seeks to question whoever comes across it, not in an intellectual, organized and reasonable way, but with the same informality and violence with which we do it with each other in the streets every day. But I know that this is just my reading, sometimes the work can say other things than what its author thinks he understands or intends to say.