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LOST PARADISE​​​​

Lost Paradise —a series currently in development— explores other ways of accessing memory, moving away from linear narrative and the need to rationally explain experience. The project is built through sensations, colours, shapes, movement and, above all, rhythm, understood as forms of memory and language.

Music is fundamental to the project, serving as a way of reaching a state of openness and fluidity. Each piece comes from a subjective interpretation of a song, understood not as a literal narrative, but as an emotional trigger. The drawings seek to translate the sensations produced through listening into visual rhythm, form and material presence.

In the embroideries, I combine printmaking and thread, treating thread both as material and as gesture. The repetitive and, at times, obsessive act of sewing becomes a physical exercise in surrender, acceptance and care: a way of processing sensations and giving them tangible form.

Through abstraction, Lost Paradise seeks a more intuitive and essential way of perceiving, in which memory can be experienced beyond narrative.

DIVINATIONS​

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The Divinations Tarot deck consists of 23 collage cards, including the cover and back. Inspired by the Major Arcana, the deck reimagines its archetypal figures through new narratives in which women hold agency and become the protagonists of both the action and the meaning of each card.

The cards are conceived as tools for reflection, self-awareness, inquiry, and personal interpretation. Symbolism and abstraction play a central role: rather than offering fixed meanings, the images invite each viewer to create their own reading, connecting the symbols to their personal experiences, emotions, and associations. This openness is what allows the cards to function not only as representations, but as prompts for individual thought.

Each collage is constructed from a wide range of visual sources, including canonical artworks from previous centuries, cinema, photography, pornography, and contemporary image archives. Through appropriation, recycling, and recombination, these inherited images are transformed into new narratives, opening alternative ways of reading familiar symbols and visual histories.

This series of studies emerged from life drawing sessions and is based on direct observation of the body, recording its forms, folds, tensions and movements through drawing and material.

The series consists of eight pieces, each measuring 21 × 29.7 cm, made from fragments of painted fabric. The pieces are rearranged, layered and connected, allowing the figure to be fragmented and reconstructed. The process begins with observation, but leaves room for the forms to transform as they move from the body into the material.

Rather than seeking a faithful representation of the figure, the work functions as an exercise in attention and visual notation: a way of observing the body and recording the relationships between form, colour, texture and void.

FROM THE WHEEL MANIFESTO

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From the Wheel Manifesto is an ongoing collection that addresses questions of identity, social roles, and the doubts that arise from these “identity boxes.”

The collection is inspired by The Wheel Manifesto, a text I wrote based on Yoko Ono’s instruction book Grapefruit. It is conceived to be interpreted and performed by others through their own experience and was created as a way of playing with what can feel like a difficult and, at times, overwhelming subject: questions about how we are expected to position ourselves in the world and who we are beyond what society, other people, and our own expectations have already decided for us.

Using white thread as a symbol of breast milk, the performance consisted of sewing the phrase “I want to be a great artist and have a big family” onto a piece of fabric. The repetitive act of sewing becomes a reflection on the relationship between artistic ambition, motherhood, care, and the expectations surrounding these roles.

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