Lo Invisible, Una Fruta Tropical (2024) reflects on the ways artists have participated in and at times reinforced colonial narratives throughout history. At its center is a painted rendering of a banana cluster, adapted from Pierre-Joseph Redouté’s Les Liliacées (1805–1816), a botanical series produced under the patronage of Empress Joséphine. By invoking this lineage of imperial image-making, the work points to the seductive aesthetics that often mask systems of domination.

The nine stacked rows of canvases echo the nine demands made by Colombian banana workers seeking fair labor conditions. Demands that were met with brutal force when the Colombian Army, supported by the United States. In tracing this history, the piece underscores the tension between visibility and erasure, beauty and violence.