Inspiration

The project originated from the collective theme “three”, given as a starting point for exploration. I decided to center my work on las tres muertes, a concept I had encountered years earlier and kept resonating with me—the idea that death isn’t a single moment, but a progressive dissolution through three distinct stages: the acceptance of mortality, the physical death, and the final disappearance in memory. Having long been fascinated by how cultures represent and ritualize death, I turned to Mictlāntēcutli, the Aztec god of death and ruler of the underworld’s nine realms, whose imagery I had seen in Teotihuacán, Plaza Mayor, and various codices. I was drawn to his presence and to the rich symbolic system surrounding death in Mexican tradition.

Process

The formal concept developed naturally into a set of three jewelry pieces—two earrings and a pendant—corresponding to the three deaths. This allowed for a direct embodiment of the theme in number and structure while giving each object its own identity. Each piece represents a different stage of the death cycle, all modeled after the human skull but with specific features that differentiate their symbolic states: the first death retains signs of life, the second embodies the god of death, and the third marks complete disappearance. The set becomes a small wearable narrative, linking mortality and adornment, reflection and transformation.

All pieces were hand-sculpted initially in salt dough to study form and detail at home, then translated into plaster molds for slip-casting in porcelain—the material used in the studio. Porcelain was chosen both for its availability and for its bone-like quality, its matte surface recalling skeletal texture and ritual purity. Although the objects are not glazed—originally a pragmatic decision due to time constraints—the unglazed finish became conceptually appropriate, reinforcing the association with bone and mortality.

Las Tres Muertes

Each skull carries distinct attributes. The first death, represented as a Catrina-like earring, still belongs to the world of the living. It has open, non-concave eyes and decorative floral details reminiscent of Catrina makeup, suggesting a joyful acceptance rather than fear of death. It celebrates awareness of mortality as part of life—a state where death is acknowledged yet not yet experienced. The sculpted ears emphasize vitality but also serve a functional role, from which the earring hangs, merging symbolism and wearability.

The second death, represented as a pendant, takes the form of Mictlāntēcutli himself. This figure has hollow eyes filled with translucent green glass, which after firing appear to glow faintly—symbolizing the lingering energy of the soul in transition. The form is symmetrical and frontal, stately but severe, echoing the god’s typical depictions with prominent ears and squared jaw. As the project’s centerpiece, it becomes the bridge between life and the underworld, the threshold where transformation begins.

The third death, expressed through the second earring, is stripped of ornament. Its face is smoother and quieter, the eyes concave and empty. The ears are replaced by two small skulls whose open mouths serve as attachment points for the earring hooks—symbolizing that death sustains death, the cycle turning inward upon itself. It represents the stage of social death, when a person no longer exists in memory, and their name ceases to be spoken. Yet even in this final disappearance, the piece retains a calm and meditative presence, completing the triad.

Despite their differences, the three pieces are conceived as a cohesive group—a set meant to be both displayed together and worn individually. They are fully functional as jewelry but carry an additional narrative layer, inviting reflection on how mortality accompanies daily life. The act of wearing them transforms remembrance into everyday ritual, turning the abstract concept of las tres muertes into a personal gesture of continuity between life, memory, and art.