I graduated in Graphic Design at the Escola Superior de Arte e Design (ESAD) in 1998. I then entered the job market, where I held various professional roles in graphics and digital media. Between 1999 and 2022, I was part of the Identidades group, participating in training and cultural exchange activities in communities in countries such as Mozambique, Cape Verde, and Brazil. These activities made me want to go into arts education as a teacher. I taught at the Escola Artística Soares dos Reis between 2001 and 2007 and at the Faculty of Fine Arts from 2008. In 2005, I completed a Master's degree in Multimedia Production and Design from the University of Barcelona (UB), where I was already thinking about the relationship between technology and Identidades' activities. These activities were systematized in terms of scientific research through the ID-CAI collective. In this vein, I developed my doctoral thesis at the Polytechnic University of Valencia (UPV). The fact that I had a highly privileged technological background became a focus of my research. It led me to research the exclusionary processes and critically analyze my actions. This reflection brought me closer to a critical theory of communication with post-structuralist and postcolonial frameworks. In this way, my path as a teacher and researcher has established itself in theoretical and practical areas and has come closer to Arts Education. In the last two years, critical-theoretical tensions have raised problems with my action-research in the past, forcing a deep self-criticism and a break with what I had developed. The fact is that, through decolonial lenses, I have begun to understand better my place of speech, my position of privilege, and the colonialities of which I am a part. This problematization led to the search for the suppression of theoretical-practical barriers as a hierarchical and discriminatory scientific system, the study of male whiteness, and the inscription of postcolonial critique in the educational and scientific spheres with a horizon on environmental and identity issues. My experiences, communications, and publications on intercultural issues and art education between 2011 and 2018 were biased by an uncritical whiteness. The dimension of the critique of technology and communication, which almost always appears as a focus in these works, advanced with this gap. The same should be said of the publications that preceded the BWG and CREAT_ED projects. However, these experiences also brought me closer to the critical postcolonial field. Despite my claim that technology is not neutral, communications and publications up to that point were also haunted by the lack of truly intersectional critical lenses of diversity. My critique of creativity denounces universalizing discourses, but it hasn't precisely sought out a history of resistance either. Only since 2020, with the need to stop and disappear as a decolonial action and framework for teaching and research, have I tried to think about the places of power of the teacher-researcher in art and technology education. Projects such as Bioimages and BWG have become experiments in thinking about sustainable images and reflecting on the environment and society. The CREAT_ED project definitively put my cis-male whiteness into play through an intersectional framework in the form of research that starts from the place of speech and the positions we occupy and that contaminates research without separating theory from practice. This framework has expanded into historical, technological, and arts education dimensions in the search for a reparatory and restitutive critique.