My practice involves lengthy processes of material and conceptual research that lead me to worlds from which I occasionally borrow images. These images materialize in works that circulate within the art world, usually as sculptures and installations, although I also sometimes use audiovisual media as a performative record of a poetic action. In all cases, it is important to me that the start and end points of these processes are somatic.

I am interested in the poetic and political potential that arises from encounters with others, whether human or non-human, ghosts or living beings, minerals and animate beings. I wonder what emotions and passions are going extinct along with the natural world that we see disappearing day by day. In this context, I choose to mediate between the multiple agencies involved in the creation and gathering of all that exists from a non-anthropocentric perspective. I believe that being an artist means being a host and convener: we can only prepare the space for these agencies to make themselves present.

From my earliest explorations as an artist, I adopted a decolonial position that led me to develop a keen interest in the history and strategies of decolonization that arise from collaboration with others, as well as the need to question the strategies of representation and organization that we humans arrogate to ourselves over all that exists.

Alarmed by the rapid pace at which the natural world is disappearing, I am currently focused on the possibility of inventing new logics of coexistence from a more-than-human perspective, and more particularly on the possibilities of interpreting the signs of the non-human as language and calls to poetic action (which is always political in itself) to contribute to a loving way of cohabiting the planet.

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