WORKS

heidi pop

Heidi POP is a collection that reinterprets one of the most deeply rooted icons of Swiss cultural memory through a contemporary, migrant, and playfully subversive lens. In these works, the figure of Heidi moves beyond her traditional imaginary to become a living, mutable, and vibrant symbol—one capable of engaging with pop aesthetics, global visual culture, and the shifting identities of today’s Switzerland.

The collection explores how a character elevated to national myth can be transformed into a space for play, critique, and affection. Here, Heidi appears multiplied, remixed, intervened, and re-signified, becoming a mirror where nostalgia, irony, cultural appropriation, and new narrative constructions intersect. Each piece activates a collision between the familiar and the unexpected, between Alpine tradition and the border‑crossing language of pop iconography.

Heidi POP is part of my ongoing research into archive, memory, and representation. It is inscribed within my editorial and visual practice as an act of affective appropriation: a way of inhabiting a country through creation, of dialoguing with its symbols, and of opening space for new readings within its collective imagination.

Crónicas de la piedad reloaded

Chronicles of the Pietà Reloaded reinterprets the historic motif of the Pietà as a contemporary lens for examining how we construct meaning, memory, and power. In this series of visual chronicles, Honys Torres transforms the traditional image of mourning into a space where human fragility and collective imagination collide.

The work dismantles global iconographies—heroes, brands, media archetypes, instant mythologies—and returns them as fractured mirrors that expose the tensions between the intimate and the political. Each image becomes a site of resistance, where vulnerability is not weakness but a force capable of rewriting dominant narratives.

Through a language of color, irony, and symbolic disruption, the collection offers a sharp and poetic meditation on grief, resilience, and the enduring power of images to question, unsettle, and reimagine the world.

Wikimedia Commons

Category:Cronicas de la Piedad reloaded– Works (Honys Torres)

Zürich POP

This series brings together scenes, symbols, and everyday gestures from the city of Zurich, weaving in its festivities, its urban rhythm, and the daily life of its inhabitants. At the center of each work are Lego figures, whose presence introduces a playful, ironic, and unexpected tone. These characters open a new way of looking at the city—through a lens that is both lighthearted and subtly critical. The works function as small visual narratives in which the familiar becomes pop iconography, and Zurich is reimagined through humor, nostalgia, and elements of popular culture.

Wikimedia Commons

Category:Zürich POP –Works(Honys Torres)

Heidi today

The Heidi collection invites reflection on cultural identity, nostalgia, and the ways in which icons evolve over time. Through this emblematic figure, the series offers a contemporary reading that shifts the myth toward new meanings, revealing the tensions, sensitivities, and questions that belong to the present.

The evil

THE EVIL is a collection that examines the ways symbolic violence, human fragility, and social tensions seep into everyday life. It does not seek to portray evil as an abstract or moralizing entity, but rather to trace its imprints: the small gestures, the silences, the intimate and collective fractures that reveal how it operates within the domestic, the political, and the emotional.

In these works, evil does not appear as spectacle but as a latent presence. It manifests through repetition, through the distortion of the image, through disarming irony, through an aesthetic that unsettles. Each piece functions as an affective archive where personal memory, social critique, and a sharp reading of the mechanisms that sustain contemporary violence intersect.

The collection is part of my ongoing research into representation, power, and vulnerability. THE EVIL proposes a space to confront what is usually concealed—not to glorify it, but to understand its structures, dismantle its narratives, and open possibilities for resistance through the image.