My work is shaped by thinkers and artists who challenge fixed categories and expand how we understand the physical world. Donna Haraway and Karen Barad question the boundaries between human and non-human, matter and meaning, while Gaston Bachelard explores the poetics of materiality. Scientists and authors like Kip Thorne and Stanislaw Lem bridge physics and speculation, and artists such as Leonora Carrington, Maya Deren, David Altmejd and Allison Schulnik embrace metamorphosis and the surreal — impulses that deeply inform my practice, and occasionally reassure me that confusion is, in fact, a method.

I build images from fragments — fragments of matter and memory, collected from personal experience, observation, and cultural references. My paintings are collages — ceramic, pencil, oil — associated through an intuitive process of assembling and reassembling forms. Rooted in the legacies of Process Art and Post-Humanist thought, my work embraces material transformation and cyclical making. Composite figures emerge from this exploration, dissolving boundaries between human and non-human, natural and artificial, and questioning the conditions of life and its evolution — or, at least, trying to make sense of the chaos.

We are living in a time defined by transition — energetic, technological, geopolitical, ecological. Everything is shifting, unstable, in flux. As part of my methodology, paintings built from fragments shift into animations, where forms disintegrate and recombine following the strange logic of dreams. Frame by frame, they mutate and adapt. I see these transitions as fertile ground: it is within instability that the most unexpected alliances and possibilities are born.

The resulting films are not endpoints but catalysts: they crystallise into ceramic sculptures, evolve into paintings from new perspectives, and loop back into fresh animations. Each form carries the memory of the last; each mutation holds the trace of what came before.

This cyclical process — from image to animation, from animation to object — mirrors how I understand life itself: not as a linear progression but as a dynamic network of transformations, relationships and encounters — a continuous rehearsal for the futures we haven’t yet figured out how to imagine.