1. If you were to formulate your current work in questions, what could they be?

How to think about our identity in the contemporary world? How does the choice of materials and machinery we work with inform the works? How to think about the agency of the artist within their social context? How to live in the face of an era of catastrophes?

2. What are some tension points driving your research today? (e.g., empirical, social, political, environmental)

I believe that the idea of artistic creation and experimentation in my practice is intimately connected with a certain idea of identity. In this sense, the work is crossed by how I politically approach the world. By saying this, I imply, therefore, different instances of life: gender, sexuality, race, the way we formulate our subjectivity in the historical context in which we live (late capitalism), the way we are and deal with the environment and beings considered alive and/or non-living, and how lately I have been questioning these ways of systematization. It is work that understands that the development of our language and the structure of our knowledge are intrinsically linked to power projects in our culture. Which words do we choose, which materials do we select for our work, the way we relate to other people, whether in a work or personal context, all this affects how we build culture, power, and ultimately becomes of interest in my artistic process.

3. . ENVIRONMENT - If we were to depict an Open-Studio, what does the general environment in your studio look like? - What are your main mediums (technical and/or conceptual)

I don't exactly have an attachment to the idea of the studio. I think this relates to the fact that I perceive that, currently, my work deals with very different supports, and that sometimes it can occur outside a physical space, for example, in the body itself. Or sometimes, the opposite, it can depend on such a large physical and technical structure that I need to be in more institutional structures than only a collective studio can propose for instance. In this latter case, I could mention the recent works I have been doing with film materials: photo and cinema. For this, it has been very good to attend some collective laboratories, where it is possible to share machines, accessories, chemicals, among others. In the end, I have the feeling that the studio is indeed wherever I am in the present.

4. PROCESS / STUDIO - What are the actions or routines that fuel your practice? What is your relationship with your studio?

My practice is fueled by diverse sources. But, if I had to point out the main ones, I could say that literature, the work of other artists who are a reference for me, my partnerships in the field of the arts often set the tone for my investigations.

5. A WORK - Is there any artwork (in your production) that currently stands out? If so, what does it propose?

I believe that, at this moment, the works that stand out the most are those that I usually call slow artistic practices. Within this context, I can mention drawing, film materials, and, more recently, working with stone. More specifically, I could mention the film "saxa loquuntur" (2021/2022), recorded in 16mm, and the short film that I am finishing in the same format, called "Nebulosa," which should be completed in June of this year (2024).

6. RECURRENCE - Retrospectively; how would you define the recurrences in your work - conceptual or plastic?

This question, in my view, is directly connected to the previous one. To explain a little more about what I consider a slow practice, and that I see constantly recurring in my projects. I'll use as an example my recent experiments with 16mm film stocks. Working with this material implies engaging in a knowledge that comes in a decelerated way, it implies learning to handle old cameras, it implies having knowledge in the field of physics with optics, for example, in the field of chemistry, if we are talking about film processing, and of course, knowledge in the field of culture itself, whether cinema or visual arts. I like to think that my work often approaches technologies that are in a state of disappearance, or whose economic and productive peak has already passed: this is the case of working with photography made on 120mm films or with 16mm films.

7. PERIPHERY - In the evident context that we are the product of a time, how do you see your work portraying contemporary times?

Thinking about and making use of the formulation of the question itself, perhaps we can affirm this about any work or artist, after all, every creation ends up being the formulation of a discourse or a positioning of how to be in the world. The choices within a work seem to oscillate between a fairly defined repertoire to generate a certain idea of meaning and coherence, a negotiation with circumstance or a mere coincidence. Perhaps in recent times, I have been trying to approach more and more the idea of ​​assigning meaning to each choice, but I know that this constantly frustrates and ends up being what is possible. Where I want to go is that the process, the material, the tool, the themes, the concepts, and the references are always relevant factors for the constitution of a project, and all this is in dialogue with "portraying the world" and also with "being the world itself". And perhaps therein lies the greatest contemporaneity, which would be not only the idea of ​​portrait or representation, but the creation of worlds themselves.

8. IMPACT - What impact would you like your work to have?

One of the strongest, most genuine, and direct sensations I consider about those works that affect me is the desire "to also create/make". There are works that stimulate to such an extent that they invite those who relate to the work to create as well, or invite to learn more about a certain subject or a way of working. Taking into account this feeling that artists I admire provoke in me, I ultimately want the things I do to be shared, to have a certain collective interest to the point of provoking other desires in other people.

9. AN ACTION - that "incorporates" or stimulates your work.

I recently realized that there are two strong factors fostering my work: the desire to learn something new and the desire to work with specific partners. About the first, I can say that, often, artistic work ends up being a tool to bring me closer to a certain knowledge, sometimes learning a new language, discovering new recipes, or studying more about a certain theory, author, movement, among other things. The impetus to live more intimately with some partners, sometimes comes more casually, from a meeting or an invitation, that leads me to think of a new project or develop something that already exists.

10. Name an artist "embedded" in practice / research

I always find it difficult to name an artists as a reference for my practice-research. This stems from the fact that there is a mutation over time and according to the project being developed. At this moment, and considering that I have been working a lot with film materials in recent months, I would name the following artists: Amy Halpern (USA, 1939), Barbara Hammer (USA, 1939), Chantal Akerman (Belgium, 1950), Rose Lowder (Peru, 1941) Rosa Barba (1972, Italy), Tacita Dean (1965, UK) e Daria Martin (1973, USA).