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 kept, archived, and 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:
Current investigation (Una Práctica de Porosidad continued 2025 - Present)
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: Residency Casa RARO, Barcelona, ES
2026: Residency Maker Sherpa, Convent Sant Augusti, Barcelona, ES
Since Feburary 2026 I have iniciated a series of residency programmes which have allowed me to continue my exploration of A Practice of Porosity.
A pore is a minimal opening through which to pass, sweat, breathe, and disintegrate. Porosity refers to the proportion of a material’s volume that consists of a network of voids. From these voids, processes of circulation, oxidation, and filtration, among others, take place, embodying a constant tension between resistance and vulnerability, between fluidity and rigidity.
In my research, porosity becomes a methodology of artistic creation, a way of opening my practice so that it can be traversed, allowing the wear of time to become an active part of the process. From this dialogue, I question how fragility can generate care, how matter becomes language, and how subtlety enables forms of permanence.
2026: Residency Hangar Barcelona, ES
2026: Residency Casa RARO, Barcelona, ES
2026: Residency Maker Sherpa, Convent Sant Augusti, Barcelona, ES
Since Feburary 2026 I have iniciated a series of residency programmes which have allowed me to continue my exploration of A Practice of Porosity.
A pore is a minimal opening through which to pass, sweat, breathe, and disintegrate. Porosity refers to the proportion of a material’s volume that consists of a network of voids. From these voids, processes of circulation, oxidation, and filtration, among others, take place, embodying a constant tension between resistance and vulnerability, between fluidity and rigidity.
In my research, porosity becomes a methodology of artistic creation, a way of opening my practice so that it can be traversed, allowing the wear of time to become an active part of the process. From this dialogue, I question how fragility can generate care, how matter becomes language, and how subtlety enables forms of permanence.
Practicing porosity allows me to inhabit decomposition and sustain sensitivity within contexts of accelerated change and deep erosion. I am interested in the slow companionship between movement and erosion: how objects continue to act as they deteriorate, understanding these conditions as forms of material intelligence. Oxidation, wear, or malfunction reveal how objects actively participate in the world.
This research emerged from a process of composting my own artistic archive in 2023, during a science communication residency at the Humboldt Foundation in Berlin, which coincided with my Humedal I residency at the Wetlab of Hangar, Barcelona.
Revisiting the limits of language to envision possible futures through Alexander von Humboldt’s taxonomies allowed me to understand that, like organic matter, language erodes over time, becoming fertile ground for new configurations of thought. In nature, waste does not exist; allowing words to fragment, decompose, and nourish what has not yet germinated. From this place, I accumulated residual materials, fragments of work, and process writings, reorganizing them as a fertile ground for research.
Through this practice, porosity emerged as a necessary condition for decomposition to occur and reorganize into new forms of intimacy. Over time, this process deepens and continues to be nourished by its own layers.
With the support of the current residencies investigating at, I am currently researching and systematizing this methodology in a replicable and open way, in order to build more situated and sensitive modes of creation.
This research emerged from a process of composting my own artistic archive in 2023, during a science communication residency at the Humboldt Foundation in Berlin, which coincided with my Humedal I residency at the Wetlab of Hangar, Barcelona.
Revisiting the limits of language to envision possible futures through Alexander von Humboldt’s taxonomies allowed me to understand that, like organic matter, language erodes over time, becoming fertile ground for new configurations of thought. In nature, waste does not exist; allowing words to fragment, decompose, and nourish what has not yet germinated. From this place, I accumulated residual materials, fragments of work, and process writings, reorganizing them as a fertile ground for research.
Through this practice, porosity emerged as a necessary condition for decomposition to occur and reorganize into new forms of intimacy. Over time, this process deepens and continues to be nourished by its own layers.
With the support of the current residencies investigating at, I am currently researching and systematizing this methodology in a replicable and open way, in order to build more situated and sensitive modes of creation.
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.
”
Una Práctica de Porosidad ( 2025 - Present)
Una Práctica de Porosidad is a living research practice that explores composting as a methodology
2026: Residency Hangar Barcelona, ES
2026: Residency Casa RARO, Barcelona, ES
2026: Residency Maker Sherpa, Convent Sant Augusti, Barcelona, ES
2025: Turbina Festival, Mira Festival, Barcelona, ES.
2025: Solo Exhibition, at Il.lacions Gallery, Barcelona, ES.
2025: Further explored at “Spring Ceremonies” comissioned by Nike Women, Barcelona, ES.
2024: This installation emerged through an initial prototype exhibited at Rizoma Festival, La Cellera de Ter, ES.
The initial installation from which this investigation emerged, was from a series of 12 motorized iron sculptures, holding flowers from bud to dry in rotation.
2026: Residency Hangar Barcelona, ES
2026: Residency Casa RARO, Barcelona, ES
2026: Residency Maker Sherpa, Convent Sant Augusti, Barcelona, ES
2025: Turbina Festival, Mira Festival, Barcelona, ES.
2025: Solo Exhibition, at Il.lacions Gallery, Barcelona, ES.
2025: Further explored at “Spring Ceremonies” comissioned by Nike Women, Barcelona, ES.
2024: This installation emerged through an initial prototype exhibited at Rizoma Festival, La Cellera de Ter, ES.
The initial installation from which this investigation emerged, was from a series of 12 motorized iron sculptures, holding flowers from bud to dry in rotation.
Through the process of decomposition, emerged dialogues of reconfiguring language, memory, and artistic practice through porous, more-than-human alliances.
A gesture to revisit: what is kept, what is archived, what is buried.
The intimacy of capturing the subtle nuances of my research, las sutilezas del mismo proceso o metodología.
Language, like organic matter, erodes over time, a fertile ground for new thought configurations. In nature, waste does not existe, let the words fragment, rot, and feed what has not yet germinated.
After exploring this idea throughout the past year, I have written a draft manifest on How to Practice Porosity: Read here
A gesture to revisit: what is kept, what is archived, what is buried.
The intimacy of capturing the subtle nuances of my research, las sutilezas del mismo proceso o metodología.
Language, like organic matter, erodes over time, a fertile ground for new thought configurations. In nature, waste does not existe, let the words fragment, rot, and feed what has not yet germinated.
After exploring this idea throughout the past year, I have written a draft manifest on How to Practice Porosity: Read here
Ángulos de Incidencia ( 2025 )
Ángulos de Incidencia is an installation crated in collaboration with creative studio PROXIMA.
2025: Meller, Barcelona, ES
Próxima invited me to create a living sculpture designed to refract the light into the space, and from it generate a live performance with Tomi Levita and Chango.
In alignment with my current practice of porosity, this installation was created using “residues” of previous artworks, as a form of composting. Glass, copper wires, mesh.
2025: Meller, Barcelona, ES
Próxima invited me to create a living sculpture designed to refract the light into the space, and from it generate a live performance with Tomi Levita and Chango.
In alignment with my current practice of porosity, this installation was created using “residues” of previous artworks, as a form of composting. Glass, copper wires, mesh.