Aldones Nino's artistic practice begins in a critical relationship with images and with the mechanisms by which art history decides what deserves to be seen, preserved, or erased. Collage, in the context of this work, is employed as a method of inquiry involving the acts of cutting, displacing, overlaying, and recombining. This approach transcends mere technical procedure, constituting a strategy for questioning colonial genealogies, visual canons, and linear narratives.

Elements such as religious iconographies, archaeological artifacts, classical sculptures, and images drawn from art history textbooks are displaced from their positions of apparent stability. Alongside book pages, vernacular objects, and transcultural references, these materials are compelled to articulate new constellations of meaning. In this process, the image abdicates its function as a passive document to act as a contested territory, where different temporalities enter into constant friction.