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

Why is there something instead of nothing?

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

The subject-object relationship. It's a game of encounters where history admits the "what if?". Creating good problems. Now, with everything being within nature, interconnected and in motion, perhaps my work (inventive and inevitably political) involves configuring things in a different way. Scratching the chalk on the plate until the plate, the chalk, and I cease to be what we are.

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 think, in general, an artist's workspace is always a sensitive place. Mine is intimate because I see there the visual extension of my thoughts, which do not always need to come to the public. Therefore, receiving visitors in the studio is a mix of pleasure and embarrassment.

4. PROCESS / STUDIO - What actions or routines feed your practice? What is your relationship with your studio?

I open the door, open the windows, sweep the walkway, and start by organizing and cleaning what was left from the previous day. Except for rare exceptions, I never finish this daily task of organizing myself and when i notice I'm already "hands-on." It seems that ideas seek me when I handle the objects around me. After a few years of acting this way, I realized I was facing a methodology (or a ritual?) subtly self-refined by routine.

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

Works considered finished generally tend to diminish my enthusiasm a bit. I don't deny or neglect them, but it seems that the work still to come, or the ones that haven't yet gained its own public life, are the ones that intrigue me the most. Perhaps it's because all this involves many affections, among them desire. And you only desire what you don't have; afterwards, at best, it turns into love.

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

Suspension.

7. PERIPHERAL - In the obvious context that we are the product of our time, how do you see your work portraying contemporary times?

I am a visual artist, Black, LGBTQIA+, an immigrant in Portugal. Thus, I am myself and my historical and material circumstances. Given this obviousness, my desire is for my work to plastically highlight some symptoms of our present.

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

Gesturally, it is as if I seek to brush the reality of the objects and materials I use, removing anxiety and despair from them, so that only the discomfort and humor of reality remain.

9. An action - that "incorporates" or stimulates your work.

To be attentive and sensitive to absorbing the world.

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

Cildo Meireles, Guto Lacaz, O Crivo, and Mira Schendel.