I think it's impossible to know the destiny of things.

It's very hard to try to be a cultural . . . people who organize cultural things . . . it's very complicated. And more so in a country like Guatemala.

The Indians are a marginal people in Guatemala just like I am a marginal person in the first world.

Face, to me, is a metaphor of sadness. And I want to share this sadness. I'm not really interested whether it's an Indian face or not - that's not as important for me. But it's still important to establish the relationships in order to bring about a consciousness of our fragility.

Fortunately I don't want to be part of the mainstream. When I see a Kiki Smith work, for example, she's very contemporary, and I feel a lot of emotion in each of her pieces; I think she understands our time, and she makes really interesting art because of that.

You never know who will see your images hanging. And I like that. I think you never really have control over the things that you do.

I think my relationship with life has changed - I want to make more complex images than before. Complex in the sense that I try to put in a lot of information, sometimes contradictory information.