My artistic practice begins with careful observation, fieldwork, and the cultivation of relationships with the living world. Through encounters with water, plants, fungi, and other forms of matter in transformation, I explore creative processes shaped by time, care, and interdependence. Working with biomaterials, textile art, natural dyes, and alternative photographic processes, I investigate other ways of inhabiting the world and relating between the human and more-than-human world.

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I work with materials created in collaboration with living organisms, as well as with organic residues, understood not as waste but as fertile matter that carries memory. In my work, making by hand becomes both a meditative and political gesture: weaving, dyeing, allowing things to grow, and allowing them to fade are actions that invite us to slow down and listen to the rhythms of matter itself.

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Water holds a central place in my practice as a vital flow, a sensitive archive, and a link between territories, bodies, and times. Through ephemeral processes such as spirulina anthotypes, I investigate the fragility of water landscapes and the disconnect between the territories that sustain life and the cities that depend on them. The fading image becomes a metaphor for what we believe to be permanent and an invitation to rethink creative practices so that, instead of extracting or polluting, they nurture and give back.

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Plants, fungi, and organic “waste” appear in my work as teachers of adaptation, regeneration, and coexistence. Their cycles inspire reflections on grief, loss, and the possibility of reassembling what has been broken: just as organic matter transforms, fragments of lived experience can be reconfigured into new sensory landscapes.

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In my practice, the scientific and the symbolic intertwine. The studio becomes a laboratory where technique enters into dialogue with intuition, and error becomes part of the language. Transforming matter is also a way of relating to territory, of recognizing the ancestral knowledge that sustains it, and of activating an ethics of love as care, understanding love not only as human affection but as an expanded practice of responsibility toward all living beings.

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From this perspective, my work engages with conversations surrounding the ecological crisis, proposing that there can be no regeneration without sensitivity, and no sustainable futures without a profound transformation in the ways we feel, inhabit the world, and relate to one another. Each work is conceived as a gesture of contemplation and resistance: an invitation to imagine and practice more loving, slower, and more mindful forms of coexistence.