This is one of the most important and therapeutic pieces I have ever created. It was born from a deep personal and professional trauma, when my ex-wife tried to cut me out of a project and business we had built together after our relationship ended. What had started as a marriage for papers eventually turned into a complete rupture, and with it came the attempt to erase my place not only as a partner, but also as a co-creator. Even though I was still officially co-owner of the studio and still paying rent, I came back from a six-month world tour, taken in part to give her space, to find that everything had been removed from the studio and packed into my personal wardrobe. She had acted behind my back to push me out, and when I returned, she even called the police on me as if I were an intruder in a place that had also been mine. 

From that wound, WE'Re_1992 was born.

The fox represents what I feel to be my animal spirit, and it is also the only cartoon figure I have tattooed more than once, since I normally create one-time-only tattoos. In this piece, I projected my own identity onto the fox, marking it with my tattoos as a way of turning it into a stand-in for myself. I placed a door marked “not enter” in front of it, along with a bear trap that catches its leg and blocks its movement, transforming the image into a direct metaphor for exclusion, betrayal, and violent interruption. The phrase “We’re 1992” refers to R1992, the name of our project, a title that originally carried the meaning of we are 1992. After that break, that “we” no longer existed.

To emphasize the pain of that fracture, I used ecoline to imitate the effect of blood, together with a particular red ink I created from natural pigment and a drop of my own blood. In that sense, the work is not only symbolic, but physically tied to my body and my experience. It became a way to process the trauma, reclaim the narrative, and turn a moment of expulsion into an image of resistance.