ExSistine is a pictorial journey that began in 2012 to interrogate the human condition in a historical moment, in which more than half of the population has the city as its natural environment.

The project analyzes the limits of painting on an architectural scale, where the painting looks out over the precipice of the city. In contrast to the metanarratives of traditional themes in group painting such as history and especially religion, the project began with a group composition from which figures and characters are extracted and studied.
This isolated study enables the construction of multiple narratives that, once put together, offer a vision of reality as fragmented as the current one and the consequent and stark struggle for the story. ExSistine takes its name from the famous Vatican chapel, existing at some point in the immense narrative gap between the genesis and the final judgment, where the colossal-size twisted bodies that Michelangelo painted in the Sistine chapel inspire a revision of the scale, proportion and distortion of the human figure.
In Exsistine, anatomical variations are a vehicle for the expression of the human condition, where fictional evolutionary lines present stories about human adaptation to the urban environment, thus emulating the narratives created by paleoanthropology to construct its theories based on fossil evidence. Once the scenes and characters have been developed, they will all be in a final painting that, unlike all the material produced during the process, will never be reproduced, it will not lend itself to a click or a like. It will only be seen in person, without cameras, reproductions or previous visualizations.

The visitor, in the full darkness of the great hall, will perceive an increase in the light in her slow advance towards the work, to show itself in hits fullness at the optimal distance to be observed, And it will plunge back into darkness as she leaves the room crossing under the threshold.