Statement
Through my sculptural practice, I investigate the relationship between movement, form, and time, taking rotation as a structural and repetitive gesture. The potter’s wheel functions as the central axis of both production and reflection—a device from which I observe how form emerges from continuous motion. The circle operates as a formal matrix that allows time to be understood not as a linear sequence, but as a cyclical, accumulative, and reiterative process.
This approach is linked to theoretical frameworks that conceive memory as a non-fixed construction, composed of overlapping layers that are constantly reconfigured over time. From this perspective, I work with non-visible contents—memories, ideas, and thoughts—that manifest through geometric structures and chromatic relationships. Geometry and color operate as tools for translating these intangible states, rather than as decorative systems.
My interest in movement and its materialization is connected to a life experience shaped by constant change and displacement. These conditions have produced a fragmentary perception of memory, where images lose their precise temporality and become formal abstractions. In this context, color functions as an element of anchoring and differentiation, acting as an identifying accent within a mutable structure.
My proximity to traditional animation, as well as my background in design, has informed the development of a perspective attentive to sequence, repetition, and formal simplification. These influences are reflected in the use of geometry as a system for organizing movement and reducing experience to its essential components.
The working process begins on the wheel, where form is constructed through rotation and materialized into autonomous volumes. These pieces are then assembled, stacked, and intersected, generating new configurations that evoke fragments of memory, reconstructed scenes, or overlapping temporal states. Color intervenes structurally, emphasizing planes, marking rhythms, and completing formal relationships. In works such as Geometría de las ideas (2019), the drive toward abstraction becomes evident, while in Itera (2025), the circle progressively transforms through movement.
My practice is situated in the exploration of time and memory as form, color as a relational structure, and the circle as an operative language.
