Pablo A. Quirós, known as La Cholla Jackson, considers herself as a trash-beast (an autonimic concept created by the artist).

Her artistic personality developed within the collective actions of Haus of Weisas, a performative troupe by “three sad trash-beasties,” namely La Chuiquiatrica, La Miley Garza,and La Cholla Jackson (around 2015).

Spontaneous outcome of these actions was an enthusiastic reception and acknowledgment among unconventional circles and outsider intellectual critics. In this context, their sole presence effected as a happening, which soon would be publicly discussed and linked to social tough and civil rights movements, a reaction which took place without any networking efforts or any discursive engagement on behalf of the troupe.

By the year 2019, La Cholla, in addition to acting on the peripheries of art, seeks to link itself to artistic institutions, which is how it applies to participate in the residency Travestites of Yesterday and the Future of the Nicaraguan collective Operación Queer (OPQ), with the collaboration of the Cultural Center of Spain (CCECR) in San José, Costa Rica.

La Cholla is an artist whose work involves performances, happenings, and protests through obsolescent fashion. Their work explores various themes, such as Gender Performativity, Religious Manichaeism, Class Struggle, and a Transvestite Perspective on local history.

In addition to this, La Cholla is passionate about promoting emerging artists and maintaining connections with regional queer friends. To achieve this, they collaborate with the Costa Rican collective Harte, which organizes exhibitions outside traditional museum spaces and raises funds for the same. They also work with Mix Imperial Central American Tropical Drag Royale, a platform that showcases the work of drag queens and queer artists from the Central American region.