Unlike my previous collections, this one came together almost instinctively. I had planned to complete a small body of work before the end of the year, but I was still deep into another project when inspiration struck. My mother showed me artwork inherited from a relative named Jorge Holguín de Lavalle — a well-known Peruvian artist recognized for his satirical, cartoon-like illustrations that appeared in newspapers. His ability to blend humour, critique, and observation immediately resonated with me. At that time, I was painting Ice Cream Vendor, Surquillo District — a piece that explored a social issue, but it didn’t align with my ongoing collection. After seeing my relative’s work, I revisited my notes app, where I store observations and ideas that might one day become paintings. I realized I had gathered numerous satirical thoughts and social reflections that shared a common thread: they captured the contradictions and absurdities of our current world. Coincidentally, I had also collected several vintage frames. They began to feel symbolic — reminders that the issues and behaviours we face today are echoes of the past. The frames connect these modern depictions to history, suggesting both a continuation and a reflection: history repeating itself, or perhaps evolving in disguise. This collection lives at that intersection — between modern and vintage, progress and stagnation. In a world where AI dominates our algorithms and familiar struggles persist, these paintings offer a mirror to our times — revealing how far we’ve come, and how much we’ve stayed the same.