My work originates from intuitions regarding diverse objects and phenomena, intuitions that after a constant experience are transformed into artistic, plastic and conceptual reflections.


My indigenous origin has made me live the tensions and contradictions of a "double inhabiting" and has placed me in peripheries and centers, in exclusions and inclusions. I have had the opportunity to access diverse cultural repertoires; to live "inside and outside" of institutional systems (social, economic, religious, political, technological and linguistic). This condition is reflected in my work and endows it with a certain particularity: that of seeing and structuring the given reality from a richer range of possibilities and readings.


My artistic practice is a way of "provoking" places of tension and dispute, in those territories (aesthetic, economic or political) that are usually enunciated as structured, full or neutral and that at the same time indicate homogeneous and hegemonic ways of inhabiting. I interweave enunciates from my immediate surroundings, with an attitude of artistic practice fused with life; I generate reflections, inflections and speculations. I get inside the context where the objects, practices and experiences developed in my work are configured; I often resort to disparate signical elements, interweaving the sumptuous aspects of capitalism and power, in relation to the most widespread poverty of peoples. It is a reflection on power and simulation, but also on what simulation and power have exercised.


Context is important to me, as the natural and immediate dimension of living. I have carried out some practices in context that tend towards the communitarian, but I consider them as a natural way of relating with my community and with people of my environment. I do not trust the hegemonic, artificial and utilitarian way of generating sporadic community relations, nor the discourses of full political "negotiation" for the realization of community or relational works.

I don't subject myself to a specific medium, I try to generate reflection exploring from different media. My production oscillates between drawing, painting, object, photography, installation, intervention and video.


Along with my artistic speculations, I try to investigate the history of my community, a "Ngiba" indigenous community of the Mixteca Poblana in Mexico. To do so, I collect information, objects and narrations, ranging from an investigation into the meaning of vernacular construction, wind music, to a historical investigation into the armed confrontations that occurred in the past, from political disputes between indigenous people and caciques.

Ulises Matamoros Ascención