Central to all of his pieces are his use of cultural icons and his exploitation of audience reactions. Guillermo was a Mexican born in Mexico City. One of his displays involved his being a member of an alleged endangered tribe, a notion very reminiscent of the post-Columbian Aztec civilization. With the use of Native American artwork, the disturbing image of a sub-human specimen had mixed reactions, Guillermo said, and he took a greater interest in his audience s involvement. What the depths to this statement were is uncertain, but the statement itself clearly implied a gradual change of identity within the artist.
Fear is everywhere.
He believes that before any positive, constructive change comes between two cultures stuck across borders, that this fear must be tapped and eventually overcome. Posting after posting to his Temple of Confessions verify his hypothesis that intercultural misinterpretation and subsequently biased dialog are ruled by fear and desire. Guillermo s has traveled across the U.S., Canada, Mexico, Europe, Australia, the Soviet Union, Colombia, Puerto Rico, and Cuba. In each of his performances, he has learned something new, and he has definitely achieved his goals he has provided the stimulus for an inevitable chain of reactions. Some communities have organized public forums immediately after his performances.