Born in Peralvillo, a working-class barrio in downtown Mexico City, I grew up “in black and white” between raw street life and a household of artists and music. My aunt Andrea Gómez — painter, engraver, member of the Taller de Gráfica Popular — was the first artist I knew, and she was at home. Visual artists Electa Arenal, Elizabeth Catlett, Leopoldo Méndez, Concha Michel, Pablo O'Higgins, and Mariana Yampolsky were among the family's circle — an early immersion in socio-political reality and artistic practice that shaped everything that followed.

I began my musical formation at the Escuela Nacional de Música, UNAM, before pursuing graduate composition, analysis, and theory privately with Julio Estrada. I built and voiced pianos at the Bösendorfer factory in Vienna, studied analogue photography and digital video across three countries, and worked for three years as assistant to Conlon Nancarrow in Mexico City — experiences that rooted my practice firmly in the material and mechanical rather than the purely academic.

I held consecutive fellowships from Mexico's Sistema Nacional de Creadores de Arte — back when it still meant something. I have been commissioned by Mosaik, LIMINAR, Vertixe Sonora, and Contrechamps, and by the Americas Society, the Ernst von Siemens Musikstiftung, the Grazer Kunstverein, and numerous other institutions, artists, and musicians across Europe and the Americas. My work has been presented in Austria, China, Cuba, France, Germany, Italy, Mexico, the Netherlands, Palestine, Spain, the United Kingdom, and the United States.

I moved to Berlin in 2003. More than twenty years of living between two cultures, two languages, two social registers — not as a problem to solve but as a position to work from. The threshold between what belongs and what doesn't is where I have always felt most precisely located.