CONCEPTUALIZATION OF THE PRACTICE

My practice is articulated as an investigation into the perceptual and physical behavior of systems, translated into visual structures operating between order and disorganization. I do not pursue the representation of nature or built reality, but the reproduction of internal dynamics such as pressure, tension, propagation, deformation, and collapse, through abstract and figurative structural systems.

The work develops through stratified systems in which each layer fulfills a specific function within the whole. The lower layers establish coherent fields that allow continuous internal tensions to emerge, while the upper layers intensify these tensions until the system reaches critical states of high perceptual intensity. Transformation is not introduced as an external event, but emerges as an inherent consequence of structural functioning.

Error and chance are integrated as active variables within the process. These conditions do not operate as failures, but as engines that allow the system to shift from coherence toward controlled disorganization. Chaos is understood as a productive condition capable of amplifying perceptual experience without nullifying structure.

Perception and the spectator’s bodily displacement are integral components of the system. The work exists at rest but becomes perceptually activated through movement, generating vibrations, undulations, and spatial variations that do not depend on kinetic mechanisms, but on the relationship between structure, material, and body.

This conceptual framework extends to photographic imagery, understood not as documentation nor as a flat surface, but as spatial material. Starting from a photograph taken directly from the environment, elements that structure the space of the site—architecture, rhythms, volumes, planar relationships—are identified and extracted to be reorganized into three-dimensional assemblages. These structures preserve the logic of the original site while introducing an autonomous spatial composition that transforms frontal viewing into an experience of traversal.

The photographic image thus becomes a perceptual structure activated by the spectator’s movement. The assemblage of layers generates real variations between planes, producing depth and parallax effects that introduce time and motion into the visual experience. This process proves particularly viable in urban and architectural contexts, where space is already stratified and constructed in layers, and encounters greater limitations in continuous natural landscapes.

Material stability plays a fundamental role throughout the practice. The use of durable materials allows states of high perceptual intensity to be fixed, preserving unstable configurations without their effect being diminished over time. Instability belongs to the visual and perceptual behavior of the system, not to its material condition.

I do not pursue formal purity or industrial perfection. Texture, irregularity, and process trace function as active components of the structure, shifting geometry toward a territory closer to natural processes and embodied experience.

As a whole, the practice operates at the threshold between coherence and collapse, between structure and disorganization. I construct systems—abstract, figurative, and photographic—that are perceptually activated, reproduce complex behaviors, and fix critical states of maximum visual intensity.