Between 2013 and 2016, the MUDAS series unfolded across Mexico City, Oaxaca, and the Pacific coast as a dispersed experiment in ephemeral materiality and sensorial rupture. Rather than fixed artworks, these installations operated as oxidative gestures, each composed of a single fresh leaf—banana, tamal, maize—pinned to a wall and left to decay in situ. The process was slow, olfactory, and public: within 48 to 72 hours, green gave way to ochre, moisture seeped into the surface, and an intense, humid aroma filled the air. Viewers didn’t just look—they inhaled, waited, documented, posed. Some touched. Others watched it curl.
