My work begins with the selection of objects that have already lived a life: antique tableware, porcelain, car windows, and industrial materials—fragments of what once belonged to everyday existence. I am drawn to the time they contain and to the traces of human experience that remain embedded in matter. I work with and through the body, cultivating an attitude of attentive listening that combines physical effort with meditative practice. Slow, silent, and repetitive processes allow attention and presence to deepen the relationship with the material. The domestic shifts, the functional loses its purpose, and an encounter emerges between the captivating and the unsettling, the inert and what appears to possess agency, the ruinous and the precious. A strange beauty unfolds. Fragments of automotive glass introduce a contemporary dimension shaped by impact, evoking the violence embedded in the passage of cultures throughout history. Questions arise about how human beings coexist with themselves, with others, with their own constructions, and with the natural world of which they are a part. Ruins, botanical forms, and an undefined sense of time suggest that something is happening, has happened, or is about to happen. Perhaps, a new world.

I grew up in an environment deeply influenced by the natural sciences, observing the invisible and living in constant contact with nature. This shaped a particular sensitivity toward phenomena that cannot be fully grasped yet quietly structure our experience. My practice seeks to bring into consciousness what remains unseen. My works invite a bodily, spiritual, emotional, and perceptual experience. They encourage sustained observation, where time slows down and meaning emerges through the encounter between the work and the viewer.