Artist Statement

My practice begins with printed matter and extends into spaces where words, images, and memories coexist. Growing up among offset machines, inks, and paper, I learned the value of process, repetition, and error. I paint, print, fold, and unfold surfaces—transforming objects and reassembling them in space so they reveal themselves anew with different rhythms.

Alongside this, my performative work which expands into image, sound, video, is placing art directly into geographical, political, and social contexts. In Polarities, a collaborative and interdisciplinary platform, I work with artists, performers, and researchers from Europe and Latin America to create site-specific projects that cross borders and distances. Each edition responds to its local cultural and environmental context—from Santiago to London, Athens to Crete—while reflecting on wider structures of identity, heritage, and migration. This shared authorship is central: through performance, expanded cinema, sound, image and text, Polarities investigates how artistic practice can bridge divides, challenge polarities, and open spaces for collective meaning through new technological and analogue medium.

When I paint I continue to treat each form—often printed images and artist books—as a site of expression. I work with familiar typologies—the page, the packaging, the card—enlarging or reframing them to expose both their poetic and sculptural qualities, and the systems of memory and history they hold, especially for women’s voices and experiences. Domesticity and female labor are present in my methods of layering, repetition, and care, where gestures of maintenance and persistence become central acts of making. I feel deeply connected with artists that use text and typography as image, such as Ed Ruscha’s painted text, or as narrative such as Yoko Ono’s instruction books and performances, bridging painting, performance, and the artist book. In my own books, language becomes matter, rhythmic, unfolding through typography, blank space or folding into non-linear narratives.

My background in visual communication enhance my attention to page structure and storytelling, while teaching feeds back into my artistic practice. Painting, drawings, installation and performance combine spoken words, sound, printed image, painted surfaces, outlined drawings and video, creating spaces of dialogue where viewers read/experience more with their bodies. In the end, what I seek is a persistent transformation of materials, stories, and gestures. A practice rooted in print, yet open to painterly, technological, and narrative experimentation, redefining identity, gender, and the spaces we choose to inhabit.