I’m drawn to fragments rather than full features—a photograph, a piece of music, or a face I can’t shake. That’s where my work begins. I build from the margins, writing about subcultures and communities that feel distant at first glance—isolated towns, strange professions, and people you wouldn’t expect to relate to—until you do.
At Griffith, I was challenged to write comedy. I produced and co-wrote “Full House”, a satire following a dysfunctional family’s Christmas reunion, and wrote and directed “Ride or Die”, a feel-good comedy about Gen Z’s anxieties around success. Both experiences sharpened my sense of character, timing, and tonal control, which I now bring into my horror storytelling. I’m pulled toward horror because it exposes something honest. Fear reveals who we are, both individually and collectively, and I’m interested in what it says about the moment we’re living in. My voice is shaped by my identity as a Salvadoran artist and by my fascination with Latin American folk horror and the ways culture reshapes what we’re afraid of. I write to unsettle, to humanise, and to find something familiar in the strange.