This autobiographical triptych evokes the segregation the painter suffered at the hands of immigration authorities in London. In the work, blood flows like a torrent of seeds, connecting trauma with origin and destination. On the left, an ashen waterfall refers to his birth and atavistic Incan customs; on the right, two skulls on shamanic chairs represent the human being stripped of identity and history.
In the end, the contingencies of life—such as the one experienced at the London airport—in the long run fragile, will give rise to the emergence of different men and women, free from the prejudices that have historically led to racial segregation.
