Critical concerns regarding the understanding of the present by looking into the past and the potential of images to resonate and prompt a universe of associations in collective memory have funnelled my practice by transforming found material into collages, sculptures, video and installations. My research draws on Geology, Archaeology and Cartography as subjects to explore fragmentation and reinterpretation of documented material rationalized by the sciences studying the composition, evolution and history of the Earth. Through a variety of means I reinterpret natural stages and their generative processes, presenting them as incomplete and ambiguous spaces where multiple times and topographies merge.

I collect and work with found material that owns an inbuilt narrative such as books, photographs, video footage, and public records. This material is deconstructed and stripped of its initial context and recomposed into works that point out the manipulability of cultural items and information. The images I employ contain elements of certain familiarity, by fragmenting and deconstextualizing these cultural objects are liberated, gaining a latent ambiguity and can now form paths and connections in our memory that will allow the viewer to look further into the layers of meaning.

The majority of my work resists easy classification and placement in time, hovering between an indeterminate past and the present. The character of my work oscillates from the found to the constructed, the factual to the invented, and the personal to the collective. In doing so, landscape appears as a recurrent layout that allows me to elaborate a poetic about territory where images oscillate from a fractured historical past to fictions of a rapidly approaching tomorrow. The over-layering of times, territories as mental constructions, journeys through an ever-changing land, rocks as fragments that reveal a planetary history, and fictional reconstructions, are all intersecting and persistent subjects that set a framework for my practice.