Statement

I've worked in theater and performing arts since I was fifteen, and I always mention it because it shaped my way of thinking and creating; I currently work in exhibition design, which maintains the same dynamic. When I imagine something new, I don't think of a single artwork: I think of a project. That interdisciplinarity is present in my works: they can be appreciated in isolation, but they gain meaning when understood as part of the whole.

I like image, text, chaos, and being redundant and contradictory. I am drawn to direct and raw poetics, and honest relationships. I am intrigued by sexuality as an integration of the body and the inner essence.

Over the years, I discovered that having a degree as an interior designer was as literal as its name suggests: the interior design... of humans, societies, and souls. That is what interests me: thinking about new interiors of what happens to us and what runs through us. It is also a discipline that requires analysis, project, and execution.

It's fashionable to talk about what calls us; well, I am called by the human problem: the limitations, decisions, fantasies, impossible solutions we imagine, and the unanswered questions. All this without getting solemn. Fantasizing, tripping out, and talking without knowing is the most fun thing in the world. I champion observing others, criticizing, and gossiping as a great exercise: it helps to understand the context of others, open up one's own feelings, and keep us connected, undermining individualism. Whether someone is outraged because others try to solve everything with tapping, or is happy when the masses agree on a common change, is equally fascinating.

This is how I nourish myself: with solutions, proposals, delusions, and future plans, and above all, the chaos that I idyllically try to order. Disaster, viewed from the outside, is as close to discomfort and anguish as it is to beauty and magnetism, almost as pain is to pleasure.