Hi Hank. Tell us about your new exhibition, ‘High Hopes and Lies’?

It transforms the Art Block into a theatrical, self-contained world where three monumental figures Agagua, Cactacuha and Hulhacta embody a new mythology. Blending the human with the otherworldly, these sculptural characters serve as guardians and symbols of transformation, identity and belonging. Surrounding ritual elements such as maize, shells and birds create energetic landscapes that function as portals and offerings, grounding the work’s cosmology within the space.

What are these characters like?

Each of them has distinct abilities and personalities, shaped by my childhood imagination. Agagua is playful, Cactacuha is more serious and responsible, and Hulhacta is the most mischievous. These characters have always been part of my identity, connected to my ancestry. They feel like siblings or friends, but also reminders of my DNA and bloodline.

What influenced the creation of these characters?

Toys and animation have always been a big inspiration when it comes to building characters, from Teenage Mutant Ninja Turtles to Biker Mice from Mars, which I used to play and watch growing up. There always felt like there was hope for me as a child, going into that fantasy land of making your own world with these characters. So toys have always been a kind of escapism, a way of feeling like you can enter another world.

Tell us about your creative process.

The world I lock myself into when I create has meant everything to me since I was a child. It allows me to process my feelings and understand who I am and why I create. Being adopted into another country does not mean my connection to my roots is lost. Exploring my personal history and childlike curiosity has led me towards understanding what my ancestors believed in and worshipped, which is an important puzzle piece in understanding myself. 

How does your heritage inspire your work?

I’m very connected to my ancestors and my roots, so I’m deeply inspired by South American and Central American cultures, the way people used to predict and understand the world, and how mythology once entered everyday life. I spend a lot of time watching National Geographic documentaries and reading books about that.

How does it feel to have your artwork in Selfridges?

One of the first times I visited London, I was recommended to go to Selfridges. Seeing how many people were moving through the space compared to Stockholm was incredible to me. My mother and father used to watch the Mr Selfridge TV series, so it feels fun and personal that I now have a relationship with the store.

What’s your favourite part of the creative process?

One of my favourite parts is when you get into the middle of the project and things start to feel a bit chaotic. You get lost in the work because there’s so much happening, you can’t sleep, and you’re completely inside it. It takes up all your time, but you’re so absorbed in that world that it feels like you’re running a long distance and suddenly the adrenaline kicks in. That’s what I feel when I’m working.

What do you hope the audience takes away from the exhibition?

I hope people come away feeling the joy of wanting to create themselves, to explore their imagination and try making big sculptures.

See ‘High Hopes and Lies’ on The Art Block at the Duke Street entrance of the Accessories Hall on G until the end of October 2026.