My artistic practice investigates the notion of the “Living” as a complex phenomenon. From this starting point, I work with the concept of habitat from the perspective of uprooting, belonging, and mobility, observing how sensory and affective experience in the world shapes our relationship to vital space, which I understand as a continuous flow manifested in different densities.

As the son and grandson of European immigrants, and through my own experience of exile and residence in foreign linguistic contexts, I am interested in how geographic displacement produces perceptual, emotional, and bodily dislocations and readjustments. My work focuses on the psycho-affective dimensions of both internal and external displacements that shape our relationship with the outside and with otherness, with space and with objects: the way perception mediates between phenomena and the experience of them.

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For this reason, I am interested in territory as something that is internalized, remembered, and reorganized through the body, as much as in the invisible spatiality of subjectively inhabited territory.

This research is immersed in Zen meditation practice, which has structurally influenced my way of conceiving artistic making through the Japanese notion of yūgen, which, in a very simplified sense, implies contemplation of the mystery of the world. From this perspective, I understand art as a form of direct experience—between the artwork, the one who perceives it, and the one who produces it—where subjectivity and environment appear interwoven as a relational field in constant transformation.

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This approach dialogues with Kitarō Nishida’s notion of pure experience and with the thought of T. Deshimaru and D. T. Suzuki, in which attention, silence, and minimal gesture allow for a non-instrumental relationship with the world. For me, art is the human action through which I attempt to understand the enigma in which I find myself immersed. Monolithic concepts from Asian philosophies such as impermanence, emptiness, flow, and interdependence permeate my practice, as do the essential dichotomies of Western thought—inside/outside; materiality and immateriality; organism/machine—which operate in my work as points of access to the notion of complexity proposed by Edgar Morin, where the inextricable, disorder, ambiguity, and uncertainty are present as essential characteristics of reality.​

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Due to my training as a sculptor, I conceive manual work with materials as a form of situated, intuitive, and non-verbal thinking. I work by hand with paper, wood, resin, metal, clay, and sound, exploring how matter can host intangible experiences—memory, affect, and absence—without attempting to fix them.

Through assemblages and spatial configurations, my works propose specific modes of relation: objects and the body become referential axes of space that constantly shift and exchange, relating to one another and to space in order to generate an order that constitutes the habitable. This interest in connectivity, distance, absence, and empty spaces points toward a psychological understanding of relationships as a fundamental structure of our relation to others and to the world, from the perspective of Enrique Pichon-Rivière, based on the theories of Melanie Klein and John Bowlby.

From this perspective, I situate my work within the idea of Chaos proposed by Cornelius Castoriadis, understood as a field of pure possibility without prior meaning. This chaos functions as a starting point for thinking about freedom and the creation of alternative ways of life capable of questioning the unequal relationships between humans, the world, and the non-human, as articulated by Nicolas Bourriaud. Likewise, the visualization models of neural tissue developed by Santiago Ramón y Cajal inform my way of translating invisible systems into legible material structures.

My research begins with the observation of the urban as a machine-habitat and has evolved toward a more existential understanding of the living, conceived as a network of interdependencies characterized by impermanence, instability, contingency, and emergence.

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Moving to Europe meant situating my artistic practice within the context of a portable studio—a creative space constituted amid geographic displacement. Recognizing the “in-between” as a habitable place reveals how territories, memories, and overlapping temporalities condense in the transitory nature of my work.

An example of this research is Epistolary Map for My Ancestors (2025), a work that addresses the psychological effects of displacement and affective relationships with territory. Through overlapping layers of information, the piece presents the structure of a hive-network that alludes to the concept of home. A molecular model of oxytocin disappears interwoven beneath neuronal structures cut from topographic maps, constituting a visual analogy for thinking about how emotional bonds and inherited memory are inscribed within the atemporality of geographic space.

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Overall, my work emerges from a situated experience to propose objects as zones of encounter, where materiality, perception, and subjective experience intersect. Through these configurations, I seek to generate spaces of attention and balance that allow us to inhabit transition and sustain a shared presence amid hyper-contemporary instability.