The principle that orients my practice is simple: to reterritorialize what has been deterritorialized. Displacement, repetition and assemblage are all actions I perform aiming to juxtapose different spaces, objects and images in a single place. I specially want to draw attention to those micro processes where the solidness of the boundaries is contested in almost invisible ways, and to highlight the ambivalent and transient nature of the limits that structure our daily experience.

Artworks that deal with ideas of landscape seek to create moments of coexistence of the two sides of the distinction inside/outside at the same time/space, meaning the dissolution of the boundary itself. Projects on urban ruins follow the intuition that those spaces configure systems of opening and closing possibilities, which isolate them as much as make them penetrable. In these sites the passing of the time devours specific features and collapses the space’s constitutive antinomies, i.e. Near/Distant, Continuity/Rupture, Inner/Outer. In my recent series of works, neglected objects are translated into paper volumes and displaced from their current state of temporal suspension to one of physical suspension. The aim of these exercises is to look at the act of suspension as prohibition (prevention to continue “being”) and immobility (physical waiting, interlude). In doing so, I propose to reflect on suspension as another form of movement.

I see my artworks as condensations of time and materiality. Their production and installation follow a multilayered process: the superposition of represented and real spaces, the accumulation of materials and mediums, and the overlapping of meanings.