Statement

I believe that humans leave traces not only in physical spaces but also in memory, and in my case, within the materials I work with and transform. Through my art, I explore the relationship between the body, objects, and the environment, delving into how the marks we leave help shape our identity and connect us to a broader web of relationships. I am particularly drawn to working with paper due to its fragility and transformative potential. By merging it with various materials like threads and textiles, I create what I call “impossible objects” that reinterpret and imbue new meaning into places that sometimes evoke structures and spaces from my childhood—sanctuary-like locations. A prime example of this is my series "Río y conjuro" (2023), where my intention is not to depict loss or decay as an end in itself, but to understand how materials can play a role in a process of reconstruction. In these pieces, river basins are presented playfully, as though I am in the act of restoring them. From an anthropological perspective, Tim Ingold describes materials not as static objects but as entities in constant formation, influenced by time and human interaction. I find this concept particularly engaging in the context of art: the way materials and their processes can create spaces for balance and healing, rather than merely documenting wear and tear. I am also fascinated by repetition, as these recurring actions become, for me, a ritual and a form of meditation. In my series "Reconocimiento facial" (2024), through the repetitive act of folding paper, I create pre-Columbian faces. These works allow me to enter into that “ritual,” while simultaneously pursuing my interest in exploring origins and roots.