My artistic practice encompasses the creation of assemblages, incorporating wood, fabric, clothing, and repurposed objects, including my own. These materials, having experienced diverse lifetimes, bear vestiges of their former inhabitants and the environments they once occupied.

Some of these assemblages serve as temporary models for my paintings. I construct these models, paint them on a large scale, and then disassemble them. The sculpture is no longer visible, and the painting remains as an imprint of a presence that is no longer there.

Other sculptures continue to exist in the exhibition space as bodies that are still active, figures that have not yet undergone the process of portraiture. The work thus brings together different moments within the same cycle: figures under construction, figures captured in paint, and figures that remain physically present in the space.

The practice is structured around the very process of constructing the figures. Used objects, fabrics, and fragments of wood from everyday contexts are reorganized to give rise to figures or characters that retain traces of their former lives.

In painting, the support and materials are part of the process. The linen canvases are prepared by hand, and the layers of artisanal oil paint are built upon their own materiality, extending the physical logic of the sculptures onto the pictorial surface.

These figures combine autobiographical experiences with the collective memory of places that have been inhabited.

The portraits, sculptures, and objects are meticulously arranged in scenes that evoke the visual complexity of Baroque compositions, showcasing a harmonious integration of the pictorial and the physical. The works function as imprints that condense these moments and lend the artistic practice a profoundly human dimension.