EARLY INFLUENCESSaúl Aguirre was born in Mexico City, Mexico in 1974. His early inspiration was the world history classes during his 4th and 5th grades. In the books he immersed himself and the transformation to become an artist was the painting -Persistence of Memory By Spanish artist Salvador Dalí. 1986 Saúl’s mother took him and his sisters on a journey to reunite with his dad in Chicago, soon after graduating from Grammar school -6th Grade-. In Chicago Aguirre began making art soon after being able to get his hands on more diverse materials, with the excuse of going to the English department to learn English. in 7th and 8th grade he was inclined to help with the props of the theater during the festivities. While in High School he immerses in all the activities involving the arts. CHICAGO ARTISTIn the late 1990s, Aguirre explored material and techniques, thanks to having landed a job at an art supply store. He had an honorary mention in the international Hispanic Festival hosted by Kraft Foods in the Science and Industry Museum 1990. Subsequently, he studied painting and drawing at the School of The Art Institute. Throughout the years he has been exhibited across Chicago and among several Invitations to Art Fairs during the Art Basel and Art Chicago. Aguirre’s growing reputation led to friendships with other artists, including Marcos Raya, Alejandro Romero, Edra Soto, William Cordoba, Sebastian Alvarez, Juan Villanueva, Kofi Ofosu-Yeboah. ACTIVISMAguirre had collaborated with Artist Miguel Cortez - Polvo and Antena non-profit galleries - on more than 35 exhibitions nationally and internationally. Many of these dealt with the context of historical references to atrocities by governments. Perhaps one of his most memorable collections is “Un Dolor” a collection of drawings transforming the context of the dollar bill- Un Dolor- the pieces talk about the atrocities the US government has caused the pain across the globe to their benefit and also in the continuity of being an immigrant having a difficulty to earn a dollar. The juxtaposition of the meaning of the invasion due to the greed, where the drawings are done on top of the Amatl Paper, the same paper that was used for the writings of the indigenous people of Mezo-America.