Since I can remember, I’ve always disliked the rigid structures of linear thinking. As a child, I hated math; trigonometry and algebra classes were unbearable for me. I detested chemistry and physics classes because they didn’t present a real challenge to my thinking, from my perspective. To me, everything seemed predetermined, immutable thoughts with no possibility of something new. And like an innocent and playful 10-year-old, I decided to skip classes to go to the place where my childhood passions flourished… the theater and music room. My school was never an institution that encouraged artistic and creative thinking among its students, and although I started playing the drums at school, from my point of view, they were trying to mold us into the corporate vision of an employee. I didn’t want to become a hunched-over man in a tie sitting in front of a machine all day inside a dreary and soulless building. No! I always knew that I would forge a different destiny.

I began my artistic training at the Casa E Academy, where I studied theater and acting for 4 years. At that time, I had a fairly narrow conception of what theatrical art entailed; for me, there were two options, the path of dance and that of acting. However, everything changed when I was admitted to the Performing Arts program at Universidad Javeriana. Not all art is divided into acting and dance classes. In my first year, I learned that there are infinite possibilities in the performing arts. For example, I realized that performance allows for endless combinations when the body, movement, voice, audiovisual elements, dramaturgy, dance, and many more forms of expression interact. Many doors opened before me…

My basic cycle was a direct blow to my ego. During my training at Casa E, I had always been in a comfort zone; I felt that standing on stage and performing improvisations came somewhat easily to me. However, in the Principles of Acting I class, with Professor Sofia Monsalve, everything was different. Through her wind dance training, she made me aware that I needed to strengthen my body structure and posture; I realized how unorganically I had been developing my movement. She also pointed out my lack of verisimilitude in speech and always emphasized that I was very mental, that I overthought ideas. My initial reaction wasn’t the best; I was in a constant bubble of denial and couldn’t understand how my classmates, without the experience I had, could be progressing in the class more than me.

But it wasn’t all frustration. The second semester of my basic cycle was one of the most satisfying in terms of learning, evolution, enjoyment, and pleasure. I quickly advanced in recognizing my body by diligently studying ballet choreographies proposed by teacher Juliana Atuesta. I explored rhythm and balance in the contemporary dance module with master Rafael Nieves. Day by day, the choreographies became longer and heavier; it wasn’t easy at all, but I still enjoyed it. Especially because I was dancing alongside classmates who had many years of dance training. Of course, I didn’t have that, and it was gratifying to realize that my experience as a drummer helped me with the basic notions of rhythm, musicality, and limb motor skills.

I have always felt a profound love for play and the madness it entails when taken to extremes. It was in the Principles of Acting 2 class, taught by Master Mario Escobar, where I could reaffirm this. For the first time, I felt that I could express myself, play, shout, and work honestly, thanks to the dynamic methodology of Clowning aimed at working on the basic concepts of acting. Thanks to these advances and results found during my basic cycle, I began to envision my path through the professional cycle of the program. I had already discovered that I was intrigued by movement and the flow it allows in dance.

But undoubtedly, one of the most valuable discoveries of my early days in the professional cycle was the Physical Theater class. A space led by Master Leonardo Martínez, in which the technique of Dramatic Corporeal Mime is studied in depth. This practice primarily seeks, unlike pantomime, not to substitute words with the body, but to infuse drama into the body, making the body such an expressive and dramatic element that it allows both the performer and the participant to make visible the invisible world of art through physical action.

This class not only challenged my way of organizing theatrical work but also taught me the precision of the actor’s work, the discipline of how to approach it, and how I could extrapolate all these learnings into a language that I have been passionate about since childhood, such as the audiovisual world.

In the Audiovisual Exploration Laboratory, led by Master David Moncada, I was able to see beyond the obvious, to seek creative solutions to any obstacle. (Considering that I just started my research process in the laboratory during the dreaded COVID-19 era) This is evidenced in the results and in the audiovisual samples I prepared, as I had to combine all my passions to self-produce short films with original music, entirely recorded with the help of my classmates. Additionally, two of the most important elements that characterize my professional practice as an artist today would be added: my passion for music and percussion (which I began developing in adolescence) and which would culminate in the Ensemble titled “Soundpainting,” directed by Master Felipe Ortiz, where I participated as both an actor and drummer.

In the following semester, I participated as a performer in the Physical Theater Ensemble titled “My Glass Friend, the Unbridled Story of 18 Stories.” During this process, I was able to develop one of my greatest passions, acrobatics. My interest grew because I could share the stage with Santiago Pinto, already a graduate of the program and highly skilled in acrobatics. Quickly, Santi became an example for me, as I saw how he used acrobatic skills to enhance the actor’s work. The physical theater technique worked in the ensemble demanded a lot of strength, skill, agility, and precision. Subsequently, I also trained in this technique and felt a great affinity for body work and acrobatic movement.

After this enriching journey, the opportunity arose to experience one of the most enriching experiences of my life, both artistically and personally. I embarked on the adventure of going to Barcelona for six months to study Corporeal Mime at the Institut del Teatre de Catalunya. I never thought this experience would open my eyes the way it did. The exchange was exactly a mix of everything I cultivated here in Colombia. I took classes in Acrobatics, Physical Theater, Physical Actions, Contemporary Dance, Musical Language, and a wonderful Clown staging.

I worked with people from all over the world, visited places I could only imagine in movies. It was a time to mature and see how beautiful and lonely life can be, to realize that I had to rely on myself and that my art would be worth nothing if I didn’t work to make it known. It was also an opportunity to recognize the development potential I have in areas that require more complex work, such as writing theatrical dramaturgy. Now, I enjoy writing scenes, fragments of poetry, and theatrical dialogues all the time, to refine my style and writing technique so that they are reflected when brought to the stage.

Similarly, I recognize the potential I have for the analysis and interpretation of dramatic and introspective texts in the language of screen acting. I deeply love cinema and the way this language can build entire worlds with