I started drawing at the age of fourteen and, a few years later, I started painting. Sculpture and furniture didn't come until later. I went to high school in Mexico and then moved to Argentina. In Buenos Aires, I created a portfolio for college and I applied to Cornish College in Seattle. I started in the fall of 1998 and, in 2002, I was awarded a full scholarship to go to VCU Sculpture for graduate school. In 2004, I moved to New York and my first job was for Matthew Barney, whose work I love and admire. I was curated into a group show in 2005 that led to a solo show in 2006. The sculpture sold and I started working full-time in the studio. In 2008, I made Avarice, which sold to the Brooklyn Museum and led to a series of shows with various galleries and museums. In 2012, I was commissioned by Sean Parker to create my largest work to date, which took two years to complete. By 2014, having just finished the commission, I started exploring furniture and loved it. In May 2014, I launched AMMA Studio, which leads to fusing my sculpture practice with a sculptural furniture company.
Only recently have I been able to see how the places I've lived in and how my family history has played a role in my work. It's hard to see it clearly, and until recently, I hadn't stepped back and looked at the entire body of work coupled with my life circumstances, which undoubtedly have changed, evolved and shaped my work in many different directions. For example, let’s take Mexico, which has an incredible history of making, building and crafting in such a rich and primitive manner, that I feel it's permeated my way of making and thinking. They build with cinder blocks, which starts to influence the form and shapes that they can explore. Usually, it's simplified geometries and large scale. I think this is naturally part of my practice, but I didn't really see it that way until recently, and now it seems entirely obvious.