From the necessary revision of the concept of nature, I am drawn to the vocabularies that are missing when we speak about care, interspecies alliances, and possible futures. Porosity allows me to build more situated and sensitive relationships.
My practice has developed through guiding questions that shape my practice: it began with “How can nature be integrated in an increasingly digitalized era?” in 2018, later evolving into “How can we imagine futures limited by a lack of vocabulary?” by 2023. This search has led me to practice porosity as a way of challenging dominant modes of knowledge production within the context of the Anthropocene, a method for softening the boundaries between bodies, languages, technologies, and the territories we cross.
My practice has developed through guiding questions that shape my practice: it began with “How can nature be integrated in an increasingly digitalized era?” in 2018, later evolving into “How can we imagine futures limited by a lack of vocabulary?” by 2023. This search has led me to practice porosity as a way of challenging dominant modes of knowledge production within the context of the Anthropocene, a method for softening the boundaries between bodies, languages, technologies, and the territories we cross.
I approach my research as a process of composting in which I understand my archive as a territory that fractures, ferments, decays and reorganizes into new forms of intimacy: a gesture of revisiting what is buried.
The following are a selection of projects that have embodied this process:
The following are a selection of projects that have embodied this process:
Methodology: Allow proximity to rearrange matter (A Practice of Porosity, Hangar)
A Practice of Porosity is a living research project that holds space for what is left behind.
There is a gentleness in decay, an intelligence that inhabits things as they open towards their own undoing.
2026: Residency Hangar Barcelona, ES
2026: Art Nou, Tandem x Casa RARO, Barcelona, ES
2026:Convent Sant Augusti, Barcelona, ES
The work presents a series of sculptural objects that accumulate gestures of waste, failure, and fragility.
The methodological investigation, which I call A Practice of Porosity, emerges from composting as a process of artistic creation, grounded in the understanding that for something to decompose, it must be porous. Through alliances with people, materials, and tools in contexts of proximity, the practice proposes inhabiting that which deteriorates, allowing remnants, affects, and relationships to ferment and reorganize into new forms of intimacy.
2026: Residency Hangar Barcelona, ES
2026: Art Nou, Tandem x Casa RARO, Barcelona, ES
2026:Convent Sant Augusti, Barcelona, ES
The work presents a series of sculptural objects that accumulate gestures of waste, failure, and fragility.
The methodological investigation, which I call A Practice of Porosity, emerges from composting as a process of artistic creation, grounded in the understanding that for something to decompose, it must be porous. Through alliances with people, materials, and tools in contexts of proximity, the practice proposes inhabiting that which deteriorates, allowing remnants, affects, and relationships to ferment and reorganize into new forms of intimacy.
As part of this research, during a three-month residency at Hangar, I commuted the same route every day, observing sites where waste accumulates and documenting both the materials that circulate and those that persist. What began as a poetic gesture within my practice gradually revealed broader logics of extraction, excess, and disposal, processes mediated by marginalized and often invisible forms of labor.
During this period, I shared a staircase with a space occupied by recyclers, who daily dismantle found objects under precarious conditions: broken windows, no electricity, no running water, and so on. The proximity between their gestures and my own practice generated a tension around the material conditions and privileges from which my work operates. Over time, that tension evolved into forms of exchange and reciprocity: the circulation of tools, materials, and care. Some of the recyclers began setting aside fragments for me, while I gathered leftover metals from my commutes and from other Hangar residents to contribute to their recycling processes.
These relationships became an active part of my methodology of porosity, cultivating more situated and attentive ways of making. The sculptures presented in the various exhibitions were created from the materials accumulated through these exchanges.
During this period, I shared a staircase with a space occupied by recyclers, who daily dismantle found objects under precarious conditions: broken windows, no electricity, no running water, and so on. The proximity between their gestures and my own practice generated a tension around the material conditions and privileges from which my work operates. Over time, that tension evolved into forms of exchange and reciprocity: the circulation of tools, materials, and care. Some of the recyclers began setting aside fragments for me, while I gathered leftover metals from my commutes and from other Hangar residents to contribute to their recycling processes.
These relationships became an active part of my methodology of porosity, cultivating more situated and attentive ways of making. The sculptures presented in the various exhibitions were created from the materials accumulated through these exchanges.
Methodology:
Follow the same route every day, observe the places where waste accumulates, observe what remains, what circulates.
( A Practice of Porosity, Hangar)
( A Practice of Porosity, Hangar)
A Practice of Porosity is a living research project that holds space for what is left behind.
There is a gentleness in decay, an intelligence that inhabits things as they open towards their own undoing.
2026: Residency Hangar Barcelona, ES
2026: Maker Sherpa, Convent de Sant Augustí, Barcelona, ES
The work presents a series of sculptural objects that accumulate gestures of waste, failure, and fragility.
This series of sculptural objects emerges from a daily practice of walking, collecting, and attending to what persists. During my residency at Hangar, I followed the same route each day, gathering discarded materials encountered along the commute. An exercise in seeing what is left behind, too broken, too useless or too little economic value that become permanent. Through repetition, the act of collecting became a method for observing patterns of circulation, abandonment, and permanence within the urban landscape.
2026: Residency Hangar Barcelona, ES
2026: Maker Sherpa, Convent de Sant Augustí, Barcelona, ES
The work presents a series of sculptural objects that accumulate gestures of waste, failure, and fragility.
This series of sculptural objects emerges from a daily practice of walking, collecting, and attending to what persists. During my residency at Hangar, I followed the same route each day, gathering discarded materials encountered along the commute. An exercise in seeing what is left behind, too broken, too useless or too little economic value that become permanent. Through repetition, the act of collecting became a method for observing patterns of circulation, abandonment, and permanence within the urban landscape.
Central to the investigation is the idea of porosity as both a material condition and an artistic methodology. The collected fragments were accumulated, rearranged, and allowed to "ferment" through time, conversation, and proximity. By bringing together found residues with blown glass, the sculptures explore tensions between fragility and resilience, rigidity and adaptation, creating unlikely alliances between materials not originally designed to coexist.
As the research unfolded, encounters with informal recyclers working nearby complicated the romantic notion of scavenging and revealed the social and economic realities embedded within systems of waste. These relationships evolved into exchanges of materials, tools, and care, becoming an active part of the work's methodology. The resulting sculptures are not only assemblages of found matter, but traces of reciprocal relationships, accumulated gestures, and forms of knowledge that emerge through sustained attention to what is discarded, overlooked, and left behind.
Manglar ( 2024 )
Mangrove (translated from Spanish as "Manglar"), scent, tangle, soil, crossroads. The mangrove serves as the transition zone between marine and terrestrial biomes, a meeting point where the forms and sensitivities of water and earth converge. It breathes with the tides, filling and emptying daily, and maintains a delicate balance. Marine animals come here daily to mate, lay eggs, care for their young, and bask in its warmth and libidinal energy.
Manglar is a transdisciplinary collective initiative by a group of 7 individuals based in Barcelona, with members from Uruguay, Brazil, Argentina, Colombia, and Catalonia, who came together during the Humedal residency at Wetlab in 2023. These encounters harmonized into a shared agenda, evolving into an experimental project.
We propose a cycle of high libidinal energy within the group, aiming to create a space for exchanging practices centered on situated sciences, while intensively engaging with Wetlab.
Our approach involves experiencing a set of practices suggested by the group, framed through the lens of "situated sciences." These practices seek to connect with and enchant different worlds, emphasizing the de-universalization of scientific gestures. This entails: first, incorporating the scientist's body as both position and place; second, recognizing and developing methods to engage with more-than-human positions within experimental networks; and third, exploring the relationship between fiction, performativity, and science.
Mangrove (translated from Spanish as "Manglar"), scent, tangle, soil, crossroads. The mangrove serves as the transition zone between marine and terrestrial biomes, a meeting point where the forms and sensitivities of water and earth converge. It breathes with the tides, filling and emptying daily, and maintains a delicate balance. Marine animals come here daily to mate, lay eggs, care for their young, and bask in its warmth and libidinal energy.
Manglar is a transdisciplinary collective initiative by a group of 7 individuals based in Barcelona, with members from Uruguay, Brazil, Argentina, Colombia, and Catalonia, who came together during the Humedal residency at Wetlab in 2023. These encounters harmonized into a shared agenda, evolving into an experimental project.
We propose a cycle of high libidinal energy within the group, aiming to create a space for exchanging practices centered on situated sciences, while intensively engaging with Wetlab.
Our approach involves experiencing a set of practices suggested by the group, framed through the lens of "situated sciences." These practices seek to connect with and enchant different worlds, emphasizing the de-universalization of scientific gestures. This entails: first, incorporating the scientist's body as both position and place; second, recognizing and developing methods to engage with more-than-human positions within experimental networks; and third, exploring the relationship between fiction, performativity, and science.
The project's structure begins with radical contamination, blending organisms, cultures, and dirt, and concludes with decontamination, separation, and space cleaning, mirroring a tidal cycle of highs and lows.
Our practices include: Cultures (bacteria, fungi, plants, and symbiotic situations), Multispecies Oracles, Therolinguistic Sciences Committee, Situated Tools, Metamorphosis of Matter, Pause and Rest, and Consortium for Decontamination and/or Sterilization. Our aim is to explore ecologies of practice grounded in play, pleasure, and experimentation, fostering intimacies between species and challenging scientific conventions.
We aim to explore situated science by weaving experiences, tools, and methodologies that question universal ideals in natural knowledge. We seek to develop research strategies where problems and questions emerge from close dialogues with non-human organisms, decentralizing inquiry and broadening discovery horizons to enhance our capacity to listen to these organisms.
Our practices include: Cultures (bacteria, fungi, plants, and symbiotic situations), Multispecies Oracles, Therolinguistic Sciences Committee, Situated Tools, Metamorphosis of Matter, Pause and Rest, and Consortium for Decontamination and/or Sterilization. Our aim is to explore ecologies of practice grounded in play, pleasure, and experimentation, fostering intimacies between species and challenging scientific conventions.
We aim to explore situated science by weaving experiences, tools, and methodologies that question universal ideals in natural knowledge. We seek to develop research strategies where problems and questions emerge from close dialogues with non-human organisms, decentralizing inquiry and broadening discovery horizons to enhance our capacity to listen to these organisms.
Acción y Destino ( 2026 )
Acción y Destino is a lighting choreography created in collaboration with creative studio próximo, as a reinterpretation of the performance developed by Dania and Rupert Clerveaux,
2025: Mostra Festival, Barcelona, ES
The fragile trace of destiny, was the narrative I was invited to accompany through a series of motorized sculptures and experimental lamps. From this, alongside Próxima, we choreographed a lighting and motor performance.
In alignment with my current practice of porosity, the slow companionship between movement and erosion was where I centered the series- how objects continue to act even as they wear down, how a gesture can persist through small mechanical repetitions. Lamps that hesitate before glowing, motors that stutter and continue, artifacts that seem to breathe through their own fragility.
The gentleness of failure, the subtle intelligence carried by things, in the process of undoing themselves.
The pieces were created using found materials / residues, glass, motors, flowers, cables and leds.
2025: Mostra Festival, Barcelona, ES
The fragile trace of destiny, was the narrative I was invited to accompany through a series of motorized sculptures and experimental lamps. From this, alongside Próxima, we choreographed a lighting and motor performance.
In alignment with my current practice of porosity, the slow companionship between movement and erosion was where I centered the series- how objects continue to act even as they wear down, how a gesture can persist through small mechanical repetitions. Lamps that hesitate before glowing, motors that stutter and continue, artifacts that seem to breathe through their own fragility.
The gentleness of failure, the subtle intelligence carried by things, in the process of undoing themselves.
The pieces were created using found materials / residues, glass, motors, flowers, cables and leds.
“The piece is a reinterpretation of Verdi´s La forza del destino, an opera said to be cursed since it first premiered more than 150 years ago. Combining desintegrated string samples and weighty drones with Clervaux´s thudding drums and Dania´s celestial vocals, Acción y Destino is both delicate and epic, and forges a crawling impressionistic narrative through the choreography of repetition and ecstatic exploration of the duo´s respective lead instruments.
”