My creative process begins with careful observation of the environment, fieldwork, and experimentation with materials created in collaboration with living organisms or “waste.” These processes are then translated into biomaterial objects, textile pieces, and alternative photographic processes that propose narratives inviting care, feeling, and reflection on other ways of inhabiting and coexisting with different beings.

I am particularly interested in how ancestral knowledge can dialogue with biomaterials to imagine more just, regenerative futures in tune with life. In my work, materiality is intertwined with memory: materials are not neutral — they carry history, territory, and emotion. Their traceability — where they come from, who has produced and worked with them, how they are transformed, and where they are headed — reveals a web of responsibilities, resistances, and relationships, both visible and invisible, human and more-than-human.

The scientific and the symbolic merge: the workshop becomes a laboratory, and technique dialogues with intuition and listening. Transforming matter is also a way of acknowledging the knowledge that sustains it, as well as the deep connections it holds with the territory, with life, and with the more-than-human. This act invites slowness, contemplation, and sensitivity — understanding creation not only as making, but as a way of being in relationship with the world.

In this sense, my practice is situated within contemporary conversations around the climate and ecological crisis, where I not only seek to create but also to open questions about how art can activate imaginaries and sensibilities to face environmental challenges. Each piece thus becomes an act of resistance and care — an invitation to imagine more sensitive and sustainable worlds through creation.