For this process, I apply a wide variety of materials, such as acrylic paint, acrylic medium, inks, pigments, charcoal, pastels, graphite, gold, silver and bronze foil, stencils, paper, collage, alcoholic transfer and oxide powder. All of these materials are layered on different substrates such as canvas, wood panel, acrylic sheets, mirror, metal and paper.
The amalgamation of elements allows me to reach textures and depths that are difficult to achieve with traditional methods.


layered resin

DeepArt is a technique that I began improving at the end of 2019 after seeing the fantastic work of Marc Scheff; It consists of accumulated layers of resin, paint and other materials. Each application takes between one to three days to dry. It is not until then that I can continue with the next layer. In between each step, it is necessary to sand the surface to ensure the adherence of the materials.
For some of my works, I apply up to 60 layers to achieve the depth and volume I am looking for. This can take up to 80 days of work and a lot of patience. The result is a work of art that is located between painting and sculpture with its own personality and unprecedented depth.


DeepArt | videos



numbered and signed intervened giclées on cotton paper and canvas

Limited Series are unique collections. The technique used is Giclée, a print of twelve pigments on 100% cotton paper or canvas. Each is individually intervened, numbered and signed.
I produce a limited edition of each piece consisting of five atelier proofs, five artist's proofs and forty numbered works.


Some people love listening to the artist explaining the meaning of his work;  others don´t, they simply enjoy seeing it and in some cases, interpreting it in their own way. There are even those who think that providing an explanation for a work of art does not make sense since each person evokes a different emotion when observing it.
It seems to me that one of the great wonders of art is that it has no absolute rules, so in my opinion, both positions are valid.
Up until a few years ago, I thought that it was not worth making statements about my work—that this was, in any case, the work for those who observed it. Recently, however, I have found great satisfaction in spending time describing what I think, feel and express in my work with others. I love to associate images and words.
I find a certain similarity between a visual work of art and a good bottle of wine. Some prefer to taste it alone, while others are interested in understanding how it was created and delve into the flavors and aromas through communication with the winemaker and sommelier. At the end, everyone enjoys wine in their own way.
If you are interested in learning the significance behind my work, you can read it in the following pages. Or, if you simply prefer to leave everything to your imagination, I invite you to browse the images.



The passage of time leaves traces; living things grow, the elements erode, the materials wear out, everything is transformed.
The accumulation of time is inevitable.
In much of my work, I apply an appearance of deterioration onto the surfaces, particularly onto the backgrounds. In addition to the intrigue, interest, complexity and charm that I find in that aesthetic, it also allows me to share my vision about the aging process. I understand it as the opportunity to accumulate knowledge and wisdom, allowing us to fully reap enjoyment from the entirety of our lifespans



Mosaics are art by themselves; they have been used throughout history in many ways and in various applications. Since I was a child, I have been fascinated by the complexity of their designs, the repetition of their patterns and the dynamics they bring to the surfaces where they are applied. They bring me back to my childhood when on family visits to my Portuguese grandparents’ house, we were surrounded by small decorative items covered in mosaics.

From a symbolic point of view, the mosaics represent the enormous complexity in the integration of feelings and thoughts that permanently descend upon us. In contrast, the passive areas of the work refer to the moments of reflection and tranquility so necessary in everyday life.

The mosaics that I use in my work are designed by me; I make them one by one on a tablet. With those mosaics, I put together different collages that I later apply to my works.



Repetition is a part of life; every day, dawn and dusk, we sleep and we wake up. The seasons are repeated annually; the life cycle of plants follows the rhythm of the seasons; the earth surrounds the sun and the moon to the earth in almost perfect cycles. Human beings impose routines that are repeated with a certain frequency.
A while ago, I started to reflect these ideas onto my work without realizing it. I think the fascinating thing about repetition exists in the nuances that each one of us gives it. When these small daily changes are accumulated, we mature and know ourselves better even though everything has already been repeated.



The simplicity of white, black and gray in the skin color of the characters contrasts with the intensity and complexity of the mosaics and backgrounds, creating an almost deteriorated appearance. The applied technique is reminiscent of stencils frequently used in street art, which has long generated great artistic and social interest. I find this contrast visually fascinating, which has led me to use it in much of my work.


The use of text in art is not new; it has been used in various ways and by many artists for a long time. It can complement the meaning of a work, be used as an aesthetic balance, or make an artist’s topic of interest explicit.

I have always found writing not only a way of expression but a means of explaining myself. For a long time, my interest in writing has paralleled my passion for visual arts.

Often when seeing an image, it becomes words in our minds. Conversely, when we read or listen to something, we create mental images that give meaning to those words.

Although I make intensive use of the text, it appears discreet to the viewer's eyes due to the technique I use. I remove all spaces, accents and punctuations before I prepare a stencil and apply the text in relief in the same color and tone than the rest of the piece. The fact that there are no spaces between the words makes it extremely difficult to read. It is part of the intrigue of each work, hinting at the fantastic complexity of life.

Many artists believe it is not their role to explain the meaning of their work, that it should be delegated to the viewer. This is how I used to think. Recently, however, I have found great satisfaction in spending time defining the meaning of my work and sharing it with others. I do it in part through the application of the text applied to my work.



​Mexico City, 1959


  • A Portrait of the Soul | La Casita Gallery | CDMX, Mexico | Solo Show

  • Jose Cacho | Samuel Menache Gallery | CDMX, Mexico | Solo Show

  • We Are Three | Samuel Menache Galklery | CDMX, Mexico | Group

  • I Biennial of Contemporary Art | Florence, Italy | Group

  • Mexican Artists in Florence | Chamber of Deputies | CDMX, Mexico | Group

  • Mexican Art Presence | Sofia, Bulgaria | Group

  • International Contemporary Art Showcase | Florence, Italy | Winner of the Special Jury Price

  • Jose Cacho | Casa de Bolsa Inverlat Gallery| CDMX, Mexico | Solo Show

  • Mexican Art Showcase | Barcelona, Spain | Group

  • Jose Cacho | Monserrat Gallery | New York, N.Y. | Solo Show

  • Mythical Reconstruction | Club Asturiano of México | CDMX, Mexico | Solo Show

  • Auction "Saber para Crecer Foundation" | CDMX, Mexico | Group

  • Verbum - Duo |Studio Lofft | CDMX, Mexico | Two Artists

  • Auction Aid for Aids | Oscar Roman Gallery | CDMX. Mexico | Group

  • Paralelas Once | Oscar Roman Gallery | CDMX, Mexico | Group

  • Cacho&Cacho | Senate of Mexico | CDMX. Mexico | Two Artists

  • Addendo | OFCA Cultural Center | CDMX, Mexico | Group

  • Viandante | Chabacano Subway| CDMX, Mexico | Group

  • Viandante | Tacubaya Subway| CDMX, Mexico | Group

  • Auction Oscar Roman Gallery| CDMX, Mexico | Group

  • Rebirth | Galeria Juarez 2525 | Torreon, Coahuila, Mexico | Group

  • Paris Art Fair | Paris, France | Group

  • Up&Coming | CDMX, Mexico | Collective

  • Alchemy and Form | El Reloj Gallery | CDMX, Mexico | Group

  • Collective Art Show – Van Gogh Art Gallery | Madrid, España | Group

  • Caminarte Tetetlan | CDMX, Mexico | Group

  • Zapata the Disruptor – Rubicó | Paris, France | Group

  • Zapata the Disruptor – Rubicó |CDMX, Mexico | Group

  • Miami Art Week – Zapata the Disruptor - Rubicó | Miami, Fl, USA | Group

  • BADAMX | CDMX, Mexico | Group

  • Imagineria | Oscar Roman Gallery | CDMX, Mexico | Group

  • In my Dreams | Oscar Roman Gallery | CDMX, Mexico | Group



My work is an inquiry about humanity from the cosmogony of the woman, bearer of life and mystery. She is recognized as a source of knowledge and harmony, perpetuating wisdom and balance.​

The composition of the elements in each painting is charged with symbolism like the images of the resignified woman and the texts - with a high level of difficulty in reading - that allude to the incredible complexity of the human mind. The mosaics inspired by Klimt’s technique represent the integration of thoughts and emotions that create our reality. In contrast, the passive areas of the work allude to the moments of reflection and tranquility necessary to achieve balance in everyday life.​

Various techniques such as resin, collage, transfer, charcoal, inks, acrylic media, pastels, and many others, create a sophisticated and enigmatic visual language.

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