Forbidden never arrived all at once.

The work was built over time, layer after layer, returning to the easel between exhibitions, experiments, and moments of doubt. Rather than treating each change as a correction, I allowed the painting to keep a record of its own evolution. Parts were covered, rediscovered, and transformed until the work finally felt complete.

By the time it was selected for museum exhibition, Forbidden had already attracted unexpected conversations. Visitors would spend long periods in front of it, finding different details with each encounter. I began to realize that the painting demanded patience from its audience in much the same way it had demanded patience from me.

During the exhibition, I was contacted by a collector who had discovered the work through Artsy. The painting was unavailable while it completed its museum commitment, but our conversations continued. Rather than looking elsewhere, he decided to wait.

Months later, Forbidden finally completed its journey through the exhibition circuit and made its way to a new collection in Mexico City.

Looking back, that feels appropriate. The painting itself was never about immediate answers. It was built through revision, persistence, and the willingness to let time become part of the work. Somehow, its collector approached it in exactly the same way.