Statement

My work explores self-knowledge through a multidisciplinary approach encompassing sculpture, painting, drawing, installations, and objects. In each piece, I deconstruct the layers of the being, conceived from Freudian psychoanalysis as a complex structure formed by the conscious, preconscious, and unconscious.

I am particularly interested in the concept of the Unheimlich, developed by Schelling and expanded by Freud, which explores "the intimate and the hidden, the familiar and the disturbing, and that impenetrable which underlies human experience." Through my work, I question how memories acquire changing meanings, proposing a continuous dialogue between the interior and the exterior, the present and the past.

In pieces such as Latencias (2024), Palimpsesto de una infancia fosilizada (2024) y Origin: exterior et interior (2024), I examined memory and its dimensions—forgetting, trauma, and the archive—from a perspective that integrates both philosophical analysis and my own personal resonances. I conceive of memory not only as a cognitive process but as a dynamic compilation of the corporeal past, where the archive becomes a creative space in itself.

With this approach, I seek to counteract the threat of forgetting in modern times, revisiting my personal archive and finding in everyday objects such as photographs, toys, and furniture, among others; an affective dimension. These objects act as containers of experiences and emotions, allowing me to transform the historical and hidden into something tangible that defies time and space.

At the same time, my work investigates the boundaries between the exposed and the protected, generating spaces that move between fragility and vulnerability. A recurring concept in my recent work is "The House," which I use as a metaphor for memory and as a link to the intangible.

For me, remembering is not just a journey to the past; it is an act that roots and defines.