Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Part of the Firefly series, in this project, the artist tries to understand how violence is lived daily, how violence permeates, and almost changes, the physical and spiritual space of the people who live in Mexico. Yael wanted to reveal another possible image in an image and transform the photo into a three-dimensional artifact. Thus he came to the idea of drilling: with needles of different sizes, he intervened in the photos to fill with light those intimate scenes that he had photographed for several years.

Printed by the artist in 2000.

Vintage print of Los Limones, printed by the artist in 1998.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.

Oswaldo Ruiz’s Todo lo sólido series profoundly reflects the extractive -and geological- part of capitalist accumulation, which is based on the destruction of life forms and the disruption of social reproduction in and around the quarries of Monterrey city.