In To Have to See II and Pared Dulce, Buenos Aires becomes both a setting and a metaphor, a city that breathes art, but also indifference.

Through Doris, the artist’s alter ego, we witness a brutal truth: violence unfolds in plain sight, yet no one looks. Doris is there, vulnerable, being robbed at gunpoint, but she is invisible to the world around her. These works reflect a deeper societal commentary—a culture often numbed to suffering, too busy, too detached, too accustomed.

The split between two canvases represents the psychological split: the external and internal, the seen and unseen, the sweetness (Pared Dulce) of illusion and the bitterness (To Have to See II) of reality.

Doris is not just a character, she is a mirror.
What does it mean to live in a place where presence does not guarantee recognition?