In his debut solo exhibition, Michael Bardales-Urióstegui confronts his ambivalent relationship with his Catholic upbringing while honoring his great-grandparents' Nahua traditions. Gothic cathedral imagery—grotesque, monstrous, decorative—enters into conversation with traditional family portraiture, forming bonds that transcend borders and time. Throughout, memento mori serves as a conceptual device to cement an otherworldly connection to the artist's deceased relatives.