My work emerges as a response to the contemporary world we inhabit: a world that is overinformed, saturated with images, accelerated, and fragmented, constantly reshaping our relationship with our surroundings, with others, and with ourselves.
In the face of this constant speed, I am interested in slowing down. Observing what usually goes unnoticed; what exists before us but what we do not always manage to perceive. The minimal, the everyday, and the seemingly insignificant become spaces for reflection and starting points from which to explore other ways of looking at and experiencing reality.
My practice explores time and its passing, transformation, erosion, fragility, permanence, and traces. I am also drawn to light, dust, climate, silence, emptiness, movement, and repetition; phenomena and states that emerge, change, remain for a moment, and eventually disappear. These elements serve as a way of approaching what, although seemingly intangible, shapes our experience of the world.
My work often begins with an experience, a perception, a state of mind, or an everyday occurrence. From these, I develop processes of observation, intervention, and transformation that allow me to shift reality into another realm. My intention is not necessarily to represent what I observe, but rather to discover what may emerge by altering it, isolating it, repeating it, or changing its relationship with space and time.
Intervention thus becomes a form of dialogue with objects, spaces, the environment, and my own experience. Through this process, the everyday can acquire a different dimension and reveal aspects related to our existence: life, death, memory, love, absence, grief, and our need to leave a trace.
My practice unfolds through different media and artistic languages. Photography and video are essential tools, but they do not define its limits. Photographing, intervening, photographing again, erasing, repeating, or modifying are all part of a methodology in which the work passes through different states before reaching its final form. The process is not merely a means of producing the work; it becomes an essential part of it.
In my recent research, this relationship becomes more precise. Time can become a concrete unit within the structure of the work. The duration of an action, the repetition of a gesture, the pause, and silence can all be physically incorporated into the composition. Time then ceases to be merely a concept and becomes material, measurement, and record.
Memory also occupies an important place in my practice. I am interested in how experiences remain within us, how they transform over time, and how what is no longer there can continue to be present through a trace, an image, or a gesture.
My work begins with the personal but seeks to reach what we share as human beings. I am interested in questions about what remains of us, what it means to be present, how we experience the passage of time, what traces we leave behind, and what disappears or endures.
Ultimately, my work is an exploration of our relationship with time and transformation. An attempt to momentarily arrest that which, by its very nature, is destined to change.