Growing up, ROA's father worked for the Geologic Institute of Mexico, sparking his interest in the scientific wonders of nature. He collected insects, fossils, and minerals, and travelled with his father to small villages and mountains, soaking in the landscapes, history, food, and traditions from all corners of Mexico. His mother encouraged him to read classics of Spanish literature like “Latin American Magical Realism” by Garcia Marquez and others. In his teenage years, ROA studied art at the Art Institute of Guanajuato, where he developed a keen interest in the works of surrealists like Remedios Varo and Leonora Carrington, as well as Mexican artists Pedro Friedeberg, Jose Luis Cuevas, and Francisco Toledos. Throughout his teens, ROA continued exploring Mexico, connecting with its vibrant colours and flavours, and capturing the soul of his magical country. He was drawn to mystical places, mountains, archaeological sites, and stunning beaches. In 1993, he settled in Cozumel, where he met and learned from artist Galo Ramirez. In 1997, he moved to San Cristobal de las Casas, Chiapas, to continue his artistic journey. By 2001, he decided to study at the Rufino Tamayo Art Institute in Oaxaca under the guidance of artist Juan Alcazar—a move that would define his career. This work combines expressionist, pop, and conceptual aesthetic elements to create a synchronic map of sensations. The figure is immersed in a semiotic atmosphere featuring reverse writing, occultism, and irreverence, representing a theatre of tragedy defined by monstrosity, machinery, impulse, and circumstance. Awarded at an exhibition, this work appropriates masterpieces of European art, using the figure as a framework and transforming it through a sequence of points, edges, and fields of colour, either subtracted or increased, resulting in a powerful and extravagant new image. This series exemplifies the process of cultural synthesis driven by global mass culture.