Suárez works extensively with woodblock printmaking—a craft that he refers to as “composing in time.” He employs minimal sketching and develops images slowly, through an accretion of marks. His confidence in image-making was nurtured through his training in geometry and drafting, acquired during his time studying aeronautical engineering. Air currents and electromagnetism introduced Suárez to how disciplines such as meteorology and physics give structure and narrative to intangible phenomena. This experience piqued his interest in other cultural and linguistic traditions that seek to articulate the means and meaning of planetary origins and functions.

The sun—as the primary source of light and heat, a measure of time and a marker of place—features in origin stories (called cosmogonies) from around the world. The Mexica cosmogony of the five suns, for example, organizes time into five cycles of creation and destruction, ruled by five sun gods. We reside in the epoch of the fifth sun, governed by the war-like god Tōnatiuh, whose reign is motivated by movement and whose demise is predicted to be caused by earthquakes.

Our era is governed by science and rationalism. Though predicated on the notion of a “stable truth,” these melodic lines are no more resolute than those that preceded or parallel them. At the limits of technical perception and empirical reason is an edge that may open up onto other melodic lines, such as the echo of Tōnatiuh’s rage or Helios’s spells. Suárez’s matrices are the imaginal architectures(as Campagna calls artworks) that invite us to encounter existence at the limits of ocular vision, where a form of insight—perhaps akin to the omniscience of the sun— invites us to enter the magic of being.