A NEW WORLD TRIP is a framed work born from a period in one of my first tattoo studios when I was in a state of deep hyperfocus on Central and South American cultures. That was the phase in which I began drawing many of these figures and symbols, diving into their visual power, their spiritual charge, and the way they seemed to speak about transformation, ritual, identity, and time. At one point I even had an apprentice from Nicaragua, and that only fueled my curiosity further, pushing me deeper into that world of references and imagination.

This artwork is built like a journey, almost like a line of becoming. Its composition moves through 10 motifs, each one carrying a symbolic role, each one acting like a station in a personal mythology. Together they form a kind of inner travel: through time, dreams, conflict, awakening, captivity, strength, music, and self-realization. Over the years, one of my closest and coolest friends here, Lucas, fell in love with these drawings, and I ended up tattooing most of them on his body, giving many of these symbols a second life on skin.

The ten motifs inside the work are:

1. The Kouros
The Kouros represents the human figure as an ideal of becoming. Borrowed from the ancient Greek image of youth, presence, and virtue, here it becomes a symbol of the desire to stand with purpose, to grow, and to shape oneself consciously.

2. The Jaguar
The jaguar is one of the central spirits of the whole piece. It stands for primal strength, instinct, vision, and power. In this world, the jaguar is not just an animal, but a guide moving between the physical and the spiritual.

3. The Mask of the God of Dream
This mask opens the gate to the realm of dreams, where time loosens and reality becomes unstable. It represents altered perception, the subconscious, and the hidden layers of experience that only appear when logic softens.

4. The Prisoner
The prisoner tied to the pillar speaks about the illusion of captivity. The body seems trapped, yet the bondage is not always as absolute as it appears. It is an image about mental prisons, self-imposed limits, and the possibility of realizing that freedom may already be within reach.

5. The White Warrior
The white warrior represents one pole of conflict: light, clarity, order, or one side of inner struggle. It is not about good versus evil in a simple way, but about necessary opposition.

6. The Black Warrior
The black warrior stands as the counterpart to the white warrior. Together they embody duality, tension, opposition, and complementarity. They are two forces in conflict, but also two necessary halves of the same human experience.

7. The Jaguar Warrior
The jaguar warrior merges human will with animal force. It is the point where instinct and discipline come together, where survival becomes identity, and where the sacred and the brutal occupy the same body.

8. The Music and the Musician
This part of the work represents rhythm, vibration, and the invisible energies that move us. Music here becomes more than sound: it is memory, trance, atmosphere, and emotional transmission. The musician is the one who channels that force. In the period of those drawings I was also producing a huge amount of music 

9. The Time Stone
The time stone stands for the strange nature of time itself: something that shapes all things, yet slips through our hands. It connects with the idea that time is not purely linear, but cyclical, symbolic, and deeply psychological.

10. The Hyped Jaguar
The “hyped jagaur” carries the raw energy of cultural fascination, transformation, and intensity. It is a figure charged with momentum, spirit, and visual impact, almost like an emblem of the whole journey condensed into one presence.

Taken together, these ten images form a continuous symbolic travel. Time opens the path, dream bends perception, the jaguar reveals instinct, the warriors bring conflict and balance, the prisoner confronts illusion, the Kouros stands for becoming, and in the end the whole composition feels like a passage toward a more conscious self. It is a map of transformation, but also a collage of obsessions, studies, and visions gathered during a very specific period of my life and artistic growth.

A final detail that matters to me: for the background of this collage, I used the same material with which I made the floor of that studio. I also used silicone to seal elements into the piece, and the work is framed, making it another object where memory, place, and material are physically fused together. So the artwork is not only about that world conceptually, but also carries a literal fragment of the studio where that phase of my life happened.