My work originates from intuitions regarding diverse objects and phenomena, intuitions that after a constant experience are transformed into artistic, plastic, and conceptual reflections. 
 
I won’t subject myself to a specific medium, I try to generate reflection by exploring from different media. My production oscillates between drawing, painting, object, photography, installation, intervention, and video.
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My indigenous origin has made me live with the tensions and contradictions of a “double inhabiting” and has placed me in peripheries and centers, in exclusions and inclusions. I have had the opportunity to access diverse cultural repertoires; to live “inside and outside” of institutional systems (social, economic, religious, political, technological, and linguistic). This condition is reflected in my work and endows it with a certain particularity: that of seeing and structuring the given reality from a richer range of possibilities and readings.
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I structure statements from my immediate environment. In my work, the boundaries between artistic practice and life disappear. I often work in places and territories where power is exercised, seeking alternatives to that power. 
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Faced with the imperial aesthetics of power, I try to think of my work as a project of creating spaces of resistance and of protecting the interests of marginalized and disinherited people. My work is located in various places, to generate interstitial spaces, rhizomatic, as small territories of coexistence with power, but also of resistance. My artistic practice is a way of "provoking" places of tension and dispute, in those territories (aesthetic, economic, or political) that are usually "enunciated" as structured, full, or neutral, and which at the same time condition homogeneous and hegemonic ways of living.
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Along with my artistic speculations, I try to investigate the history of my community, a “Ngiba” indigenous community of the Mixteca Poblana in Mexico. To do so, I collect information, objects, and narrations, ranging from an investigation into the meaning of vernacular construction, and wind music, to a historical investigation into the armed confrontations that occurred in the past, from political disputes between indigenous people and caciques.

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Ulises Matamoros Ascención