The development of geometric art in South America, through the work of pre-Columbian peoples to modern and contemporary art, is a frequent reference in my artistic approach.

The use of materials from a daily sphere, such as the "found objects" present in my work, revisit elements of the ready-made that evoke the place and context from which they come. These are combined with geometric abstraction, representative of the movements of concrete and neo concrete art, whose aesthetics and principles are an important part of Latin American art, architecture and design.

The way I usually obtain the materials present in my works is through the recovery of the elements that the city seeks to get rid of: an old tree fallen on a house, a palm tree cut down in a garden, a long bamboo cane that has dried, or a pavement lost in a park. As well as objects from the street, which often go unnoticed.

But just because we don't pay attention to these objects doesn't mean they're not there. Rather, they are part of what could be considered an urban unconscious of the elements that accompany us daily, without necessarily calling into question their presence or use. So when do we consider that an object has really accomplished its useful life?

Through my works, I also seek to question the natural tendency we have to try to control the phenomenon of observation, by focusing on a perception of the environment in the most synthetic way possible. I therefore seek to create situations where an apparent normality is dislocated by a different or foreign element. This also applies to the kinetic compositions on which I work that, although static at first glance, allow us to glimpse an apparent and unexpected movement.