the dot, 2017
oil on paper
21x30cmthe dot symbolises an ideological ending... the end of a sentence, a full stop.this work was created during a time marked by deep feelings of loss and anger toward boundaries that I could not define and that did not seem capable of containing my being.

glaze explorations, 2025
exploration with red clay and lead-based glazes.

sole di terracotta, 2025
white clay vase and underpass decorated with see-through glaze.this terracotta sunflower (sole di terracotta) aims to reproduce an organic texture, with grooves where the underglaze collects: some are dark and smooth to the touch, others lighter and rougher.the idea is to create a design of organic form for the organic world itself.

red vase, 2025
red clay vase decorated with red and black glaze, and hand scratched.not visible in the photo, four lines were scratched with fingernails on the four “sides” of the vase, following the movement of the incisions that shape the vase.these lines geometrically expose the terracotta beneath.
the geometry used in red vase, together with the choice of red and black colours, recalls constructivist art, cold and rigid, placing it in direct contrast with the organic form of the vase and the small “pools” of colourful shades in each groove.

drip explorations, 2025
red clay vase, decorated with lead-based glazes.

erasmus bridge lamp, 2017
prototype for a lamp inspired by the erasmus bridge of rotterdam, designed by the dutch architect ben van berkel, and finished in 1996.the Erasmus bridge is one of the most iconic symbols of the city of rotterdam, a city renowned for its audacious and innovative architecture.prototype made of cardboard, wood, acrylic sheets, LED lights, electrical system, and nylon string.
final piece to be made of metal, acrylic, LED lights, electrical system, nylon string.

drowning in tears, 2016
photomontage.drowning in tears is a self-portrait based on the concept of the human eye as a canvas for inner experiences.this photomontage is designed to be viewed from a distance, so that the head of the figure at the center can appear as the iris of the eye.

the hug, 2016
photomontage.the hug is a dreamlike exploration of human connection, intimacy, and vulnerability. the different layers through which the viewer’s eye travels may recall the photomontages of jerry uelsmann.by showing more than the eye can see, this work portrays two people who, in embracing each other, become one. at the same time, they dissolve, slipping into non-existence.

consumed, 2016
digitally enhanced photography.

the space of a kiss, 2025
digital photography.

andean women, 2018
digital photography.

man chewing coca leaves, 2018
digital photography.

men in hats, 2018
digital photography.

BUSCÁNDOME/ESPERÁNDOME, 2025
performance, with linocut soles tied to my feet with transparent nylon string.walking, I leave footprints that say buscándome (searching for myself) and esperándome (a word play meaning both “waiting for myself” and “hoping myself”). the first word is clear: I move forward trying to understand who I am, searching for myself. the second word describes the wait to become (who I want to be? who I am authentically?). in the meantime, I "hope myself", I manifest. the footprints gradually fade: the further I go, the harder it becomes to understand where I came from.at the end of the performance, I reveal the marks caused by the nylon thread: a discomfort that was “transparent” to the eyes of others, but that left a mark on me.
in this work, the body is not only a theme to be interpreted autobiographically but also a crucial medium for expression.