I work from the body and material processes as a way of thinking about identity, belonging, and the bonds we build in the present. My practice emerges from a situated experience, where the personal is not presented as biography, but as a point of contact through which to open collective questions.

The manual gesture is central to my work. Sewing, embroidering, kneading, knotting, or painting are actions that involve time, repetition, and wear. Through them, I am interested in thinking about care and fragility not as ideals, but as practices sustained at the limit—practices that reveal tensions, absences, and contradictions.

Moving between painting, textiles, installation, and action, I develop projects that propose situations of encounter and participation. I am interested in observing how bodies and materials relate to, strain against, or support one another, and how these relationships reflect both the need for and the difficulty of building community in contexts marked by violence and indifference.


My work does not seek to offer closed answers, but to open spaces in which the viewer can recognize themselves as part of an affective, social, and political fabric in constant transformation.