Starting from Haraway's (1995) concept of situated knowledge, my artistic practice is activated through embodied senses, where vision is produced with the entire body, in a situated way. Memory, for me, is not just a static archive of what has been lived, but a moldable space of connections that is woven during the creative process. My work is often presented as a series of displacements and reconsiderations, where "reality" is approached as a place of drifts and openings of thought, rather than as a set of fixed certainties.


My work arises from the traces left on the body and from what crosses me, from a "nomadic," relational, and blurred "self," understanding that there is no "other," but that both are constantly co-created in an intertwining of relationships. Habitually, my practice develops through sculptural installations and mixed techniques such as textiles, writings, and sounds, adopting a rhizomatic approach, where art does not have a fixed answer, but invites reflection and the construction of other forms of knowledge. I base my work on investigating, knowing, and doing to develop the piece.