This sculpture was created in Guayaquil, following an invitation to participate in a group exhibition at the Museo Municipal de Guayaquil.
Guayaquil is a city organized to be travelled by car. Along the sides of the avenues that cut through the city there are dusty and sunburnt billboards and logos. One recurring logo was Marathon, an Ecuadorian sportswear store. This logo would appear not only on buildings and billboards but on T-shirts of people riding motorcycles. 
The way the city interacts with advertising, especially those that are decayed and now lie worn out and abandoned, tells us something about how information is exchanged and trivialized. Beyond an interest in what the word itself could mean, I was more compelled by the logo’s structure and omnipresence in the city, almost as a natural element.The making of this piece comes from an intention in generating structural re-enactments of tired advertising  or imagery I find in the city, through strategies such as isolation and assemblage.
Ynfinity was made in the southwest of Guayaquil, using a variation of a local papier-mâché technique they use to create sculptures. This area of the city is well known for its tradition of artisans working in wood and resin, and above all, as a place where the “Años Viejos” are made: a tradition of human-scale papier-mâché puppets that people burn collectively at the end of the year. These figures usually represent bad experiences one wants to get rid of: political figures, ex-partners, or even cartoon characters. This tradition makes Guayaquil a place with a strong relationship between popular craft-making and animism, intrinsic not only to the city but also to a large part of Latin America’s sculptural tradition.