Artist Statement:

,My current research centres on the nature of desire: a vital, persistent and ambivalent force that drives human existence and participates in shaping who we are, what we pursue and what we project. I am interested in the tension between the desires we recognise as intimate and those induced, shaped or encoded by the images, values and structures of contemporary culture.

Through painting, sculpture and installation, I explore how desire is recognised, takes form, circulates and transforms. The signs, objects, containers and systems of exchange present in the works function as condensations of individual aspirations and social constructs, while also becoming surfaces onto which viewers may project their own relationship with what they desire.

When this inquiry moves into installation, desire crosses the threshold of representation and becomes experience. The presence of the audience introduces new forces: each choice, intervention or response modifies the work, bringing an individual experience into a shared reality. Viewers enter into the work’s unfolding, activate it and participate in its transformation. Through experience and participation, the work ceases to belong exclusively to the artist and becomes collectively constituted.

Across other strands of my practice, emulating life remains the central principle. I work with some of its essential conditions—movement, encounter, instability, action, response and transformation—as active agents capable of guiding the creative process. Body, matter, time and circumstance act upon one another; each event alters the conditions of what follows and gives rise to new decisions.

In my painting, the canvas operates as an active agent within this process. The marks that remain on its surface register encounters between movement, matter, intention and unpredictability. The work becomes both testimony to and memory of actions, responses and transformations occurring in conjunction.

My training as an architect deeply informs this inquiry. Architecture leads me to consider the work in relation to scale, the body, space, movement through space and different modes of perception. This perspective shapes both the way a painting is encountered and the spatial and experiential situations created through my installations—situations that can be inhabited, traversed and transformed.

My connection with Benito Quinquela Martín lies in his ability to translate the intensity of the world—labour, movement, human experience and the energy of an environment. I recognise a form of painting that carries the force of events as they unfold and turns the surface into a testament to their occurrence.

This understanding also resonates with the actions of Kazuo Shiraga and the Gutai group, in which the body enters into direct relation with matter and each gesture provokes an unpredictable response; and with Lygia Clark, whose practice transforms the art object into an experience activated through presence and participation.

Within the territory of desire and the passage between the intimate and the collective, my research finds a correspondence with the sensibility of Félix González-Torres and his ability to bring profoundly personal experience into a shared space, allowing the work to continue evolving through the actions of its audience.

These references represent points of correspondence within a distinctly personal inquiry: the work as a living field in which matter, body, space, time, desire and participation act upon one another, generate events and transform what they encounter. My work invites viewers to recognise the visible and invisible forces that set them in motion, to explore the intimate dimensions of their own experience and to discover how that experience simultaneously forms part of a collective construction