In the series The Rusty Mirror, the artist transcends the traditional documentary approach to Havana, choosing instead to explore the city through the distorting lens of ephemeral rain puddles. By reframing iconic mid-century automobiles and colonial architecture exclusively through their reflections, the work engages in a form of visual deconstruction, stripping the subjects of their immediate context and physical weight.

The water acts as a transformative medium, turning the rigid lines of the Capitolio and the heavy steel of vintage Chevrolets into fluid, painterly abstractions. In these compositions, the boundaries between the solid urban landscape and the transient nature of water dissolve. Rust is reinterpreted as texture; urban decay creates a vibrant color palette reminiscent of Impressionist paintings.

This body of work serves as a meditation on the fluidity of memory and time. Rather than capturing a static historical record, The Rusty Mirror presents a parallel reality—a fragile, inverted Havana that exists only on the wet asphalt, emphasizing the delicate tension between the enduring city and the fleeing moment.