Diaz Morales’ works, in the 1990s almost exclusively shown at film festivals and in video programmes, have increasingly been exhibited in the European art context, too, since his time studying at the Rijksakademie in Amsterdam in 2000-2001. Over the last few years for example his works could be seen at the Stedelijk Museum Bureau Amsterdam (2003), Kunst-Werke in Berlin, Tate Modern, London (2004), Le Plateau in Paris and at LMAK Projects, New York (2005).

Diaz Morales experiments with various cinematographic genres, modes of expression and stylistic means; he takes social constellations, literary models, culturally coded images as well as travel impressions and memory fragments as hook and starting point for his intricately woven, wide-ranging series of images, which are often extremely complex in narrative terms. Like other young “non-European” artists of his generation, his oeuvre resists attempts to be fixed by categorising definitions; it is not merely film, not solely art, documentary on occasion but never simply illustrative. However, the feature that perhaps distinguishes him from other is a pronounced feeling for his protagonist(s), be it in images, voice-overs, or in front of the screen.