CHILDRN 🇲🇽

Style: Figurative
Technique: Digital

Faydelid Alcides, better known as Childrn, got his first taste of art at just six years old thanks to his dad — and ever since, he’s been doing his thing as an artist, both independently and through art school. With a mission to revalue Mexican culture, he decided to capture contemporary cenes told through kids with long necks, oversized hands, heads, and feet. These characters are also inked up and wear pre-Hispanic Mexican masks and garments. “I focus on childhood because it’s a key part of human life. My characters usually have long necks because I feel like, if our brains were a little farther away from our hearts, our thoughts and actions might be better.” Ever since he got into tattooing at 19, he’s been feeding his artistic journey by taking part in all kinds of events — tattoo expos, mural festivals in Acatlán de Osorio, and competitions hosted by big-name brands like Margies Motorcycles, Vans, Cancún FC, and Royal Enfield México. He’s also worked with World Art Destinations (WAD) as a featured artist.

Exhibition Carrer

DLonngi ART Gallery, Mexico City, 2018
Zonamaco Art Exhibition, Mexico City, 2018
Vasconcelos Library, Vlady Central Museum, UACM, Mexico City, 2016
Mexico City Museum, 2015
Street Art MUJAM, Museum of Antique Mexican Toys, Mexico City, 2015.
Advanced studies in visual arts at the National School of Painting, Sculpture, and Engraving “La Esmeralda”, Mexico City.
Graduate of the National Autonomous University of Mexico (UNAM)
San Carlos Academy, Mexico City.
NEZAHUALCÓYOTL, 1982.

José Antonio Martínez De la Cruz, better known as JAMDELAC, held his first solo exhibition at the Casa de la Cultura Tonacalli in Iztapalapa, Mexico City in 1999, an experience that encouraged him to continue on that path. Thanks to this and his curiosity, he later joined various artistic experimentation workshops – Graphic Design, Sculpture, and Painting – at the National Autonomous University of Mexico.

Armed with his stencils, he combines ink, spray paint, and acrylic, as well as elements of Mexican popular culture, dazzling us with works full of textures that invite observation. He aims not only to represent symbols or icons but also to include hidden messages in his works, many of which can be visualized under ultraviolet light, or even through 3D glasses. His willingness to show his work from any perspective gifts us with multisensory pieces that also add a new perception to what Mexico represents. From Iztapalapa to the World, 1982