Humberto Ríos, Tránsito if death is real and all encompassing, through the almost sculptural existence of furniture and objects in the darkness.
That is how an unusual perception about this scenery of tensions is originated. We know that funerary homes are often associated with grief, absorption and reflection; however, the series teaches us their internal dynamics, but in absence, subtly, as a statement of the abandonment represented by this last meeting place.
In a very different circle from other works is Livia Corona( Ensenada, 1975). Her inclusion may seem out of place or risky because it does not seem representative of the images of vio-
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