MONS - 2026
Reflects on the way contemporary society relates to imperfection and decay. Rather than repairing what has been damaged, we increasingly choose to replace it, abandoning objects in the pursuit of newer and supposedly better alternatives. The project questions this culture of disposability by elevating the worn, the fractured, and the overlooked, suggesting that value is not lost through use, but accumulated through time. By transforming traces of deterioration into sculptural forms, MONS invites us to reconsider what we preserve, what we discard, and why.
FOSSILS - 2026
Fossils reflects on the legacy of humanity and the traces we leave behind. While human life is finite, the technologies and objects we create may outlast us, becoming the fossils of our civilization. Blurring the boundaries between archaeological artefact and speculative relic, the project questions what future generations—or other forms of life—might understand about us through the materials we leave behind.
GORGOTAS - 2026
Marks the beginning of an ongoing investigation into the relationship between matter and invisible forces.
Inspired by the geological formations known as gogottes, the sculptures explore how time, pressure, gravity, movement, and erosion become embedded in material, leaving physical evidence of processes that cannot be directly seen.
Rather than representing nature, the works recreate its logic, treating matter as a record of transformation.
Gogotas establishes the conceptual foundation of my practice, where sculpture becomes a way of revealing the hidden histories contained within materials.
BLOOD VESSELS - 2026
Emerged from an exploration of the renewed interest in ceramics and the desire to engage with its material language without access to a kiln.
By combining 3D printing with hand-applied layers of clay, the project transforms digitally fabricated forms into vessels with skin-like surfaces.
Once fired and finished, their textures evoke flesh, veins, and coagulated blood, blurring the boundary between the domestic object and the living body.
The title plays on the dual meaning of the word vessel—both a container and a blood vessel—questioning where utility ends and the body begins.
TOMATE TU TIEMPO - 2025
Questions a society shaped by speed and consumption, where value is increasingly measured by efficiency and immediacy. The project proposes an alternative rhythm, one that embraces attention, contemplation, and the simple act of slowing down. It invites the viewer to reclaim time not as something to be managed, but as something to inhabit.
SHEPHERDS - 2024
explores the cultural and material legacy of sheepskin through sculpture. By reclaiming a noble material often discarded as waste, the project reflects on reuse, permanence, and the knowledge embedded in traditional crafts. Rooted in the figure of the shepherd and the artisan, the work questions today's culture of overconsumption and disposability, proposing a return to materials, processes, and values shaped by time, care, and respect for resources.
A..MA - 2024
A love letter to the hand as humanity's oldest creative tool. Born from the desire to honour my own hands, the project celebrates craftsmanship and the enduring value of manual work.
Each sculpture elevates a fragment of the hand into a monument, reclaiming the visibility of the artisan and the time, skill, and care embedded in every handmade object.