My interest in these works is to reflect on certain methods that we use in everyday life to scale social positions and that involve the harm and damage of others. I am concerned about how the dynamics of life in certain spheres, including that of art, conditions the subject to crush and hurt others in order to materialize their endeavors or develop their interests above others. The triple-edged race would be the piece where this statement is clearer. The captured career of several individuals alludes to the rivalry when reaching some purpose, the metallic spurs refer to their crude and irrational character. More than competition, it is about persecution and annihilation, where each step taken by one person lacerates another. Portrait only of the legs, trying to erase individuality and thinking of hiding faces to connote the "blind" nature of the race: not looking at who or what is in front. At the same time, the legs represent the quintessential member of the motor body, which allows us to move forward and support all our weights for life.

In this series the essence of the discourse is the theory of the contraries. The play is complemented when the artist introduce a natural body penetrated with a stranger material, expressing denounce to the aggression in the all day live. The natural object is a sun-flower and the stranger materials are pins that substitute the flower feminine organ. The incredible composition of the photos shows the attack of conscience that the creator suffers when she violate the original form of the body extraordinarily design by the nature. She creates a reflexive moment about the contraposition of attitudes that provoke the difference between beings. Also in this series reappears the butterfly tattoos creating an idyllic situation among a fictitious butterfly and a mutilated sun-flower. Then we think about communication and the erroneous deafness in this global society. Something comes to our minds: How much time we are going to stay isolated of the world and of ourselves?

The magnet is a presupposition that is only in my subconscious. I start from the obsessive idea that everything (even the human being) is magnetized depending on the arrangement of the pins, in some cases the magnet is the viewer, and in others, it is the concept behind the work. A duality that can sometimes be translated into aggressiveness - docility, communication - isolation, attraction - rejection, not only on a personal level, but also on a social level.

The constant renewal, experimentation, the search for new languages ​​and concepts, are pillars through which my work travels. My behavior in the field of creation has a lot to do with my own personality, which is why my work is permeated by that intimate discourse.

Plata/Gelatina (Silver Gelatin print) is a parody of classic photography and the procedure of photographic printing. For this work I use silver jewelry such as rings, brooches, necklaces, bracelets and earrings which I arrange over large planes of gelatin dessert of various colors.  Each arrangement is in accordance with the corresponding flavor of the gelatin.

The constant renewal, experimentation, the search for new languages ​​and concepts, are pillars through which my work travels. My behavior in the field of creation has a lot to do with my own personality, which is why my work is permeated by that intimate discourse. Without classifying myself as trends or themes, I fully assume creation, I cover issues from the particular to the general, and from the individual to the social, which subtly come to find an existential or philosophical background. My poetics stems from personal experience, invocations to the domestic space, to the daily life of home and work, which in my first woodwork and my later work with pins, acquire a dimension within the theme of gender. However, I intend to go beyond this, I am interested in the duality of signs, which I make coexist in confrontation or harmony, dialoguing about the space of the public and the private, pleasure and pain, and so on other antagonisms. The pin in many cases assumes this antithesis, it may be piercing a delicate black box, subduing the female body, or representing the life-death binomial. My work in general tries to take a reflective look at sensitive topics, a kind of meditation that invites us to rethink the true essence of things.

Inner Traps refers to the ignorance about the interior of our body. Most part of the time we have to use ultrasounds, X- Ray or another technological mechanism in order to know more about our system. We can make plans and set goals for our future and we can still work on it but we are not able to control them. Sometimes, life can surprise us.

The magnet is a presupposition that is only in my subconscious. I start from the obsessive idea that everything (even the human being) is magnetized depending on the arrangement of the pins, in some cases the magnet is the viewer, and in others, it is the concept behind the work. A duality that can sometimes be translated into aggressiveness - docility, communication - isolation, attraction - rejection, not only on a personal level, but also on a social level.

Plata/Gelatina (Silver Gelatin print) is a parody of classic photography and the procedure of photographic printing. For this work I use silver jewelry such as rings, brooches, necklaces, bracelets and earrings which I arrange over large planes of gelatin dessert of various colors.  Each arrangement is in accordance with the corresponding flavor of the gelatin.

In the case of the dancer , tied to their own career, fullwith sacifices and schedules to end up being a good profesional, being due entirely to the same one .

In the case of the dancer , tied to their own career, fullwith sacifices and schedules to end up being a good profesional, being due entirely to the same one .

Plata/Gelatina (Silver Gelatin print) is a parody of classic photography and the procedure of photographic printing. For this work I use silver jewelry such as rings, brooches, necklaces, bracelets and earrings which I arrange over large planes of gelatin dessert of various colors.  Each arrangement is in accordance with the corresponding flavor of the gelatin.

The constant renewal, experimentation, the search for new languages ​​and concepts, are pillars through which my work travels. My behavior in the field of creation has a lot to do with my own personality, which is why my work is permeated by that intimate discourse. Without classifying myself as a trend or theme, I fully assume creation, I cover topics from the particular to the general, and from the individual to the social, which subtly come to find an existential or philosophical background. My poetics stems from personal experience, invocations to the domestic space, to the daily life of home and work, which in my first woodwork and my later work with pins, acquire a dimension within the theme of gender. However, I intend to go beyond this, I am interested in the duality of signs, which I make coexist in confrontation or harmony, dialoguing about the space of the public and the private, pleasure and pain, and so on other antagonisms. The pin in many cases assumes this antithesis, it may be piercing a delicate black box, subduing the female body, or representing the life-death binomial. My work in general tries to take a reflective look at sensitive topics, a kind of meditation that invites us to rethink the true essence of things.

Plata/Gelatina (Silver Gelatin print) is a parody of classic photography and the procedure of photographic printing. For this work I use silver jewelry such as rings, brooches, necklaces, bracelets and earrings which I arrange over large planes of gelatin dessert of various colors.  Each arrangement is in accordance with the corresponding flavor of the gelatin.

Plata/Gelatina (Silver Gelatin print) is a parody of classic photography and the procedure of photographic printing. For this work I use silver jewelry such as rings, brooches, necklaces, bracelets and earrings which I arrange over large planes of gelatin dessert of various colors.  Each arrangement is in accordance with the corresponding flavor of the gelatin.

The constant renewal, experimentation, the search for new languages ​​and concepts, are pillars through which my work travels. My behavior in the field of creation has a lot to do with my own personality, which is why my work is permeated by that intimate discourse.

My interest in these works is to reflect on certain methods that we use in everyday life to scale social positions and that involve the harm and damage of others. I am concerned about how the dynamics of life in certain spheres, including that of art, conditions the subject to crush and hurt others in order to materialize their endeavors or develop their interests above others. The triple-edged race would be the piece where this statement is clearer. The captured career of several individuals alludes to the rivalry when reaching some purpose, the metallic spurs refer to their crude and irrational character. More than competition, it is about persecution and annihilation, where each step taken by one person lacerates another. Portrait only of the legs, trying to erase individuality and thinking of hiding faces to connote the "blind" nature of the race: not looking at who or what is in front. At the same time, the legs represent the quintessential member of the motor body, which allows us to move forward and support all our weights for life.

In this piece I speculate on time, the permanent desire to have and share more time in our lives, and our work. By placing the hands of the clock on the wrist I refer to my time, yours, and how one system plans and controls them at the same time..


The magnet is a presupposition that is only in my subconscious. I start from the obsessive idea that everything (even the human being) is magnetized depending on the arrangement of the pins, in some cases the magnet is the viewer, and in others, it is the concept behind the work. A duality that can sometimes be translated into aggressiveness - docility, communication - isolation, attraction - rejection, not only on a personal level, but also on a social level.

The magnet is a presupposition that is only in my subconscious. I start from the obsessive idea that everything (even the human being) is magnetized depending on the arrangement of the pins, in some cases the magnet is the viewer, and in others, it is the concept behind the work. A duality that can sometimes be translated into aggressiveness - docility, communication - isolation, attraction - rejection, not only on a personal level, but also on a social level.

In this piece I speculate on time, the permanent desire to have and share more time in our lives, and our work. By placing the hands of the clock on the wrist I refer to my time, yours, and how one system plans and controls them at the same time..


In the case of the dancer , tied to their own career, fullwith sacifices and schedules to end up being a good profesional, being due entirely to the same one .

In the case of the dancer , tied to their own career, fullwith sacifices and schedules to end up being a good profesional, being due entirely to the same one .

Inner Traps refers to the ignorance about the interior of our body. Most part of the time we have to use ultrasounds, X- Ray or another technological mechanism in order to know more about our system. We can make plans and set goals for our future and we can still work on it but we are not able to control them. Sometimes, life can surprise us.

The constant renewal, experimentation, the search for new languages ​​and concepts, are pillars through which my work travels. My behavior in the field of creation has a lot to do with my own personality, which is why my work is permeated by that intimate discourse. Without classifying myself as a trend or theme, I fully assume creation, I cover topics from the particular to the general, and from the individual to the social, which subtly come to find an existential or philosophical background. My poetics stems from personal experience, invocations to the domestic space, to the daily life of home and work, which in my first woodwork and my later work with pins, acquire a dimension within the theme of gender. However, I intend to go beyond this, I am interested in the duality of signs, which I make coexist in confrontation or harmony, dialoguing about the space of the public and the private, pleasure and pain, and so on other antagonisms. The pin in many cases assumes this antithesis, it may be piercing a delicate black box, subduing the female body, or representing the life-death binomial. My work in general tries to take a reflective look at sensitive topics, a kind of meditation that invites us to rethink the true essence of things.

The constant renewal, experimentation, the search for new languages ​​and concepts, are pillars through which my work travels. My behavior in the field of creation has a lot to do with my own personality, which is why my work is permeated by that intimate discourse. Without classifying myself as a trend or theme, I fully assume creation, I cover topics from the particular to the general, and from the individual to the social, which subtly come to find an existential or philosophical background. My poetics stems from personal experience, invocations to the domestic space, to the daily life of home and work, which in my first woodwork and my later work with pins, acquire a dimension within the theme of gender. However, I intend to go beyond this, I am interested in the duality of signs, which I make coexist in confrontation or harmony, dialoguing about the space of the public and the private, pleasure and pain, and so on other antagonisms. The pin in many cases assumes this antithesis, it may be piercing a delicate black box, subduing the female body, or representing the life-death binomial. My work in general tries to take a reflective look at sensitive topics, a kind of meditation that invites us to rethink the true essence of things.

The constant renewal, experimentation, the search for new languages ​​and concepts, are pillars through which my work travels. My behavior in the field of creation has a lot to do with my own personality, which is why my work is permeated by that intimate discourse. Without classifying myself as a trend or theme, I fully assume creation, I cover topics from the particular to the general, and from the individual to the social, which subtly come to find an existential or philosophical background. My poetics stems from personal experience, invocations to the domestic space, to the daily life of home and work, which in my first woodwork and my later work with pins, acquire a dimension within the theme of gender. However, I intend to go beyond this, I am interested in the duality of signs, which I make coexist in confrontation or harmony, dialoguing about the space of the public and the private, pleasure and pain, and so on other antagonisms. The pin in many cases assumes this antithesis, it may be piercing a delicate black box, subduing the female body, or representing the life-death binomial. My work in general tries to take a reflective look at sensitive topics, a kind of meditation that invites us to rethink the true essence of things.

In this series the essence of the discourse is the theory of the contraries. The play is complemented when the artist introduce a natural body penetrated with a stranger material, expressing denounce to the aggression in the all day live. The natural object is a sun-flower and the stranger materials are pins that substitute the flower feminine organ. The incredible composition of the photos shows the attack of conscience that the creator suffers when she violate the original form of the body extraordinarily design by the nature. She creates a reflexive moment about the contraposition of attitudes that provoke the difference between beings. Also in this series reappears the butterfly tattoos creating an idyllic situation among a fictitious butterfly and a mutilated sun-flower. Then we think about communication and the erroneous deafness in this global society. Something comes to our minds: How much time we are going to stay isolated of the world and of ourselves? In these works I dare to summarize as a great diptych, my vision of small and universal things that surround me, and my need to combine them. I investigate different topics, giving the two possible sides of the coin: the relationship with time, the lack of communication between people, the artist's ego, interpersonal relationships, stillness and aggressiveness, choices and abandonments, the life-death binomial , plus the suggestive silence that we form with the sharp and fine gaze in front of the mirror.

The magnet is a presupposition that is only in my subconscious. I start from the obsessive idea that everything (even the human being) is magnetized depending on the arrangement of the pins, in some cases the magnet is the viewer, and in others, it is the concept behind the work. A duality that can sometimes be translated into aggressiveness - docility, communication - isolation, attraction - rejection, not only on a personal level, but also on a social level.

In this series the essence of the discourse is the theory of the contraries. The play is complemented when the artist introduce a natural body penetrated with a stranger material, expressing denounce to the aggression in the all day live. The natural object is a sun-flower and the stranger materials are pins that substitute the flower feminine organ. The incredible composition of the photos shows the attack of conscience that the creator suffers when she violate the original form of the body extraordinarily design by the nature. She creates a reflexive moment about the contraposition of attitudes that provoke the difference between beings. Also in this series reappears the butterfly tattoos creating an idyllic situation among a fictitious butterfly and a mutilated sun-flower. Then we think about communication and the erroneous deafness in this global society. Something comes to our minds: How much time we are going to stay isolated of the world and of ourselves?