In the middle of the 70’s, a group of twenty student artists from the school of Academia de San Carlos in Mexico City—of which I was a member—decided to take their art to the streets. We gave ourselves a name, SUMA. Specifically, we began to use the fences of Mexico City as our canvas. As a result of the attention that these murals brought us, we began to participate in local galleries and museums, and we also participated in the first biennial for young artists in Paris, France. This new movement was of interest, not only to the public, but to artists like Rufino Tamayo, Juan Jose Arreola and others. Because of this interest from established artists, this new movement was given a place in the current evolution of Mexican art.
After five years, the group dissolved as each member decided to focus on their individual careers. I dedicated several years to research techniques that include egg tempera al fresco, oils, watercolors, etchings, drawings and woodcutting which became my favorite ways of artistic expression.
During my professional life as an artist and a teacher, I have always had the interest of continuing to apply and research many of these techniques because they are part of the foundation of my artistic education. To this date I am dedicated to the research of the manuals of Max Doerner.