• Born in Mexico City in 1950, spends his childhood in Mexico until the age of 10 years. Examines his early years in the City of Oviedo, Spain. Later in 1966, change of residence to Kingston England. In 1970 he returned to live in Mexico City where he established until 1985 and then settled in the city of Cuernavaca.

He began studying Rembrandt painting at the Academy under the supervision of Professor Luis Ramos in 1963. During his residence in England as a student actively participates in the free drawing workshops at the Academy of Fine Arts in Kingston, England. Entering the University Iberoamericana in 1974, drawing by independent study, as well as human figures. In 1983, he became a disciple and assistant maestro Enrique CRIACH for 5 years where he perfected his painting techniques in the realistic style and human figure drawing, sculpture and monumental city, between the years 1987 to 1990 he took courses in drawing and painting still life motifs and flowers, the ex-hacienda de Cortes in Cuernavaca Morelos, additionally participate in watercolor workshops taught by Maestro Fernando Turu during 1990 and 1991. For 1998, one year course in acrylic mural, with Manuel Gillen in Mexico City.

And residing in the City of Cuernavaca participated in several courses in drawing and painting, as well as workshops of the Regional Institute of Fine Arts. Subsequently engages in the technique of egg tempera, casein, encaustic under the tutelage of Master and Restorer José Carmen in 2000. Lately participated in intensive painting workshop Vermont Studio Center, under the supervision of various art critics, among them: Tom Hanks and Rachel Knowlton.

His work has been recognized by various media, among which we mention, the newspaper Excelsior, El Universal, News, Weekly Education, Science and Culture. Among television media, has had space: Interview with Lucero Solórzano Zinser and other notes covered by the media, during the exhibitions, and other interviews.

SENSITIVITY AND TALENT IN THE PAINT HOUSES Marily

"It is primitive man have created forms of expression that using a symbolic language, reveal the presence and essence of things if they are, they should be. At special times, we participate in the mystery of color to travel the roads of one of these modes of creation and communication and they discover magic and beauty, expressed as itself through spontaneous is present, and define ways that qualify them with sensual textures, glazes and fillings in the spirit hidden in other ways.

And objects paraded before our eyes in the wrong place, misleading the proportion or perspective, transformed into symbols of mystical and pagan unmisterio, flowers ghosts of themselves, multiform variegated petals in competition dream of stealing aromas and colors of other flowers upset perhaps have existed somewhere, fruit in its glossy surface rebel leave our whim, renovated in the desire to revel in their juicy pulp, which keep the ever zealous inflammatory known in bittersweet taste of new sins and vices old, who profit exotic bird costumes feathers that are not theirs, to try the crazy flight to skies of a planet that is not ours. Faces and bodies that roam and are shown from a world that by dint of being everyday and not willed and escapes us.

In scenery located on the border that separates the waking from sleep, including temples, houses, kiosks and strange plants, small slide and a moon lit puppets lottery, a death in vain attempt to scare, a lonely couple, a possible angel some things that we refer to a religious world, form the nostalgia that encourage the artist, and if not, let us clarify that face intended Tenth Muse, or the Holy Spirit Dove says that it has reached the time of the call . For the final dinner, a letter waiting to be read. And so small that Mexico could travel on the train of Christmas imagined López Velarde.
Contemplate a while certain people who have roles central to the multiple representation: Children immersed in an infinite sadness, witnesses of a world in which we begin to live, do not assimilate and that has made them prisoners, shackled with leg irons absurd, arms drawn in towards themselves reminiscent of the fetal position, waiting in vain to break the chains to initiate a desired trip or to provide basic shelter. And again the same girl, who is leaving behind their memories and senses their transit through the aura blonde make it the naked Catwoman and be imprisoned again, all to the rhythm of the music that you check the small piano.

In the silent dialogue with the gaze our eyes still, deep and vivid characters caught in a microcosm of fabric, oil and feelings, is where communion climaxes. And if we can hear those voices of silence, we know that our inner-directed speech or to something that is beyond. And tell us of dreams, illusions, loves, failures, broken hopes. Of what life changes.

Only that, as in the old and wise I Ching, the mutations do not say anything that can not or will not understand.

Anything above marked with the sign of beauty. And it could not be otherwise, because if we paraphrased the philosopher who defines that man is the product of their circumstances, we must conclude that physically and spiritually Marily House is beautiful in her and she has to germinate, flower and fruit beauty. "

Raúl Ortiz-Urquidi and C.
January 1991

"Do not fear the cluster of emotions that sometimes bank into the abyss of the unknown.

When I watch your world is ours penetrate impossible, she lives unexplored.

Painted in the halo of his own soul, without fear that energy to dispose of madness, pleasure or distress, may vibrate, perhaps dying, I just know that is intensely alive to the ends of our own envy.

It lost a spirit has no limits to scale the border of pain to their own growth. She faces and lives. Skips the convictions of art and life, dares to ambivalence that haunts her, challenge the contradiction, drop the mask that covered.

What she is real for us is fiction, as if we were to land and it just air. "

Paula Roca.
February 1999.