The Tiles Collection is built from a language of pattern — an architecture of color, contour, and cultural memory. Each painting feels carved, pressed, or cut into being, echoing the handmade lineage of Indigenous textile makers whose work carries both beauty and inheritance. The owl, iguana, jaguar, and sacred birds appear not as literal creatures but as patterned beings, shaped through the rhythmic geometry of tiles. Their bodies hold the influence of Panamanian mola traditions, the crisp intentionality of stencil art, and the textured pulse of stamp‑making.

In these works, patterns become narrative. The repetition of shapes, the layering of color, and the boldness of outline create a visual cosmology where nature and culture meet. Each canvas stands alone as a fragment of story, yet together they form a larger tapestry — one that honors the rituals of making, the discipline of craft, and the ancestral aesthetics that continue to guide contemporary hands. The collection invites viewers to see pattern not as ornament but as identity, a way of remembering and reimagining lineage.

I developed this collection with a desire to honor the cultural technologies of pattern — those quiet, enduring practices that shape textiles, garments, and ceremonial objects across generations. The influences of mola, stencil, and stamp traditions call me to preserve and reinterpret ancestral methods, to translate the tactile language of cloth into the painted surface.

Nature’s presence — owl, jaguar, iguana, the quetzal — reveals another of my impulses: to portray animals as carriers of cosmology. Their patterned bodies become metaphors for resilience, guardianship, and the living relationship between humans and the natural world.

For some time, I was feeling the wish to create a contemporary archive of patterns. These works feel like offerings — tiles of memory — crafted to celebrate the hands that cut, carve, press, and paint stories into existence.