All my works oscillate between the three-dimensional and the two-dimensional spaces: they are drawings or sculptures, depending on how they’re looked at.
I’m interested in bringing space closer to the possibilities of paper and emptiness closer to the possibilities of drawing. And those two experiences feedback on each other in my work.

I try to expand and know the limits of lines, points, stains and emptiness, to create routes, observation points and other ways to imagine their meaning.
I propose to observe and recreate the matter of the world, without aiming to reach a statement, but to create a space where doubts and a certain humor can spark the beginning of a new perspective or re-active sensibility.

I don’t have a linear method in my creative process; I rely on imbalance and the constant mutation that comes from experimenting, as well as intuition before matter.

I’m stimulated by making in order to think: Modifying the space, moving the line that divides the wall from the door, making a canal of which we can see the entrance and exit in the air, a walkable circuit, bordered by a long line of elastic bands, a door built with charcoals.
I create drawings, sculptures and objects, strengthening an obsolete, absurd utility, presenting their matter as matter in itself.

I encourage the encounter of organic, natural materials such a seeds, pumpkins or flowers, with industrial elements such as metal or cement. I place them in relation to each other, looking for meeting points between them, or traces of politics, economics and decisions in relation to the realm of nature.
Many pieces share a fragility that is common to all of them; any blow, careless walk or inconvenient touch could destroy them.

This fragility is not a warning, but an invitation to the physical experience of drawing and sculpture.