My practice is nurtured by critical art, ecology, and digital technology. Through my work, I aim to construct narratives and tools that deepen my relationship with the environments I inhabit.
Here you will find a collection of my artworks taken forward since 2018.
Una Práctica de Porosidad
Una Práctica de Porosidad is a living research practice that explores composting a methodology.
2023: This investigation was initiated within the Humboldt Residency Programme 2023: Our Precious Resources, Berlin, GER; and further explored within the Humedal Wetlab Residency Programme at Hangar Barcelona, ES.
2024: Later evolving through an initial prototype exhibited at Rizoma Festival, La Cellera de Ter, ES.
2025: Further explored at “Spring Ceremonies” comissioned by Nike Women, Barcelona, ES.
2025: Solo Exhibition, at Il.lacions Gallery, Barcelona, ES.
2025: Turbina Festival, Mira Festival, Barcelona, ES.
The work emerges from a process of symbolic and material decomposition, a gesture of reconfiguring language, memory, and artistic practice through porous, more-than-human dialogues.
“Siento el descomponer en múltiples formas, en la piel, en las pequeñas muertes, al nadar, al flotar, en el viento, al quemarme, al enterrarme. Un gesto para revisitar: qué se guarda, qué se archiva, qué se entierra.”
This installation consists of twelve motorized iron sculptures, created in collaboration with metallurgist María Chidan, which slowly shift, rotate, and breathe.
This pieces emerges from the intimate need to capture the subtleties of my research, the delicacies of the process or methodology itself. A gesture to revisit: what is kept, what is archived, what is buried. It is an exploration to compost my practice, to let words decompose and nourish the soil. A format that reflects the research I’ve carried out over recent years, opening a dialogue between art, technology, and ecology.
2023: This investigation was initiated within the Humboldt Residency Programme 2023: Our Precious Resources, Berlin, GER; and further explored within the Humedal Wetlab Residency Programme at Hangar Barcelona, ES.
2024: Later evolving through an initial prototype exhibited at Rizoma Festival, La Cellera de Ter, ES.
2025: Further explored at “Spring Ceremonies” comissioned by Nike Women, Barcelona, ES.
2025: Solo Exhibition, at Il.lacions Gallery, Barcelona, ES.
2025: Turbina Festival, Mira Festival, Barcelona, ES.
The work emerges from a process of symbolic and material decomposition, a gesture of reconfiguring language, memory, and artistic practice through porous, more-than-human dialogues.
“Siento el descomponer en múltiples formas, en la piel, en las pequeñas muertes, al nadar, al flotar, en el viento, al quemarme, al enterrarme. Un gesto para revisitar: qué se guarda, qué se archiva, qué se entierra.”
This installation consists of twelve motorized iron sculptures, created in collaboration with metallurgist María Chidan, which slowly shift, rotate, and breathe.
This pieces emerges from the intimate need to capture the subtleties of my research, the delicacies of the process or methodology itself. A gesture to revisit: what is kept, what is archived, what is buried. It is an exploration to compost my practice, to let words decompose and nourish the soil. A format that reflects the research I’ve carried out over recent years, opening a dialogue between art, technology, and ecology.
In a present marked by ecological and narrative tensions, composting the archive becomes an urgent act. Western language acts as a lens, but also as a limit. Built upon oppressive taxonomies, they continues to shape our relations. How can we imagine futures while constrained by a lack of vocabulary? In nature, there is no waste—let the words fragment, rot, and feed what has not yet germinated. Language, like organic matter, erodes over time—a fertile ground for new thought configurations. How do we foster and transform our connections? Moisture as a gesture of metabolization.
Here, air becomes a method of listening. A porous space where language decomposes and transforms into embodied knowledge. The installation invites viewers to inhabit the between form and formlessness, between what is remembered and what is yet to emerge.
Here, air becomes a method of listening. A porous space where language decomposes and transforms into embodied knowledge. The installation invites viewers to inhabit the between form and formlessness, between what is remembered and what is yet to emerge.
A Skin of Soil [ Live A/V ]
The piece we had created was a navigation of the year of the snake to embody new skins. A series of narrative stories and speculations that play with the concept of resurrection by fire.
2025: (Not presented) Comissioned by Sonar Festival, Barcelona, ES
2025: Mira Festival, Barcelona, ES
This performance is the first of a series of a yearly collaboration and evolving research project, curated by Ikram Bouloum, in which together we explore storytelling experiences. This project emerges from an intimate need to revisit what is kept, what is archived, and what is buried. It responds to the existing, as well as our own internal climate crisis´ through the poetics of decomposition, involving more-than-human perspectives and expanded material vocabularies.
Over these past three months we have been sharing our practices, methodologies and knowledge systems, as well as personal stories and intimacies. From these biweekly dialogues, Alice Sparkly Kat has written around the theme of regeneration: a piece on migration, a silly horror story about a snake, a fable about skin, and a forecast for 2025 year of the Wood Snake. Whilst Akyute has been working on the audiovisual and audiorreactive narrative, in collaboration with sound artist Bamba.
Together we have been assembling the performance, as well constructing an editorial format to create a piece that metabolizes past and co-imaginaries, rooted in intimacy, decay, and collective regeneration.
The performance has a duration of 45 minutes and consists of live reading accompanied by live A/V.
Skin Scent I-II
Skin Scent I-II, is a wearable sculpture holding two perfume compartments with distinct yet layering skin scents.This piece is a collaboration between Magdalena Hart (Rain and Rivers) and Ludmila Furman.
This collaboration was initiated as a reflection on shedding, developed in connection to this year 2025: the yin wood snake. Activated by body heat and the oil base of the structure, the scents unfold gradually as an extension of the skin.The piece was designed around release and intimacy.
Skin Scent I-II, is a wearable sculpture holding two perfume compartments with distinct yet layering skin scents.This piece is a collaboration between Magdalena Hart (Rain and Rivers) and Ludmila Furman.
This collaboration was initiated as a reflection on shedding, developed in connection to this year 2025: the yin wood snake. Activated by body heat and the oil base of the structure, the scents unfold gradually as an extension of the skin.The piece was designed around release and intimacy.
The piece is a 1/1 edition, and was forged by hand in Barcelona using handblown borosilicate glass and stainless steel. Each compartment is a refillable bottle measuring ___ml .
Una Práctica de Porosidad - II
Una Práctica de Porosidad is a living research practice that explores composting a methodology.
This installation was a site-specific revisitation with contact mics that sonorize the motors and objects connected to the sculptures. For this piece we worked with the “residues” of our previous installations with Akyute.
Inspired by Pauline Oliveros ‘Deep listening meditations’ investigation: “Take a walk at night, and walk so silently that the bottoms of your feet become ears”.
See video here
2025: Turbina Festival, Mira Festival, Barcelona, ES.
This installation was a site-specific revisitation with contact mics that sonorize the motors and objects connected to the sculptures. For this piece we worked with the “residues” of our previous installations with Akyute.
Inspired by Pauline Oliveros ‘Deep listening meditations’ investigation: “Take a walk at night, and walk so silently that the bottoms of your feet become ears”.
See video here
2025: Turbina Festival, Mira Festival, Barcelona, ES.
The work emerges from a process of symbolic and material decomposition, a gesture of reconfiguring language, memory, and artistic practice through porous, more-than-human dialogues.
This pieces emerges from the intimate need to capture the subtleties of my research, the delicacies of the process or methodology itself. A gesture to revisit: what is kept, what is archived, what is buried.
It is an exploration to compost my practice, to let words decompose and nourish the soil. A format that reflects the research I’ve carried out over recent years, opening a dialogue between art, technology, and ecology.
This pieces emerges from the intimate need to capture the subtleties of my research, the delicacies of the process or methodology itself. A gesture to revisit: what is kept, what is archived, what is buried.
It is an exploration to compost my practice, to let words decompose and nourish the soil. A format that reflects the research I’ve carried out over recent years, opening a dialogue between art, technology, and ecology.