 Sanchez exalts the collective life, work, play, and ritual holidays of the peasants in an existence that seems unalterable and infinite.Beginning in the 1980s when Peru was convulsed with the fight with Sendero Luminoso, Sanchez's work began to emphasize death and violence and presented an allegory of the massacres and genocide of thousands of peasants murdered and forgotten in clandestine burials.Although Sanchez's later work reveals more social conscience, his techniques continue within the confines of magical realism.