This framework outlines a practice based on the construction
of perceptual systems that reproduce the behavior of natural and spatial phenomena.
MANIFESTO
My work constructs systems capable of reproducing the behavior of natural phenomena. Geometry functions as a structural tool to analyze pressure, tension, propagation, deformation, and collapse, beyond the formal representation of nature.
I work with stratified systems. The lower layers establish coherent fields; the upper layers reveal latent tensions that emerge from within the system itself. Transformation is not external or narrative: it is internal, inherent to the structure. The system contains the conditions of its own instability.
Error and chance are introduced as active variables. I do not seek absolute control, but rather to push the structure toward a critical state where order begins to transform into chaos. Visual collapse is not a failure, but a valid outcome corresponding to a state of maximum perceptual intensity. Chaos is understood as visual energy, not as conflict.
The work exists at rest and intensifies through perception and the spectator’s displacement. Movement does not reside in the object; it emerges through the relationship between structure, material, and body.
I do not seek immediate comprehension of the system, but sensory activation. Experience precedes analysis. Understanding, if it occurs, is the result of a prolonged relationship with the work.
I work with durable materials to fix unstable states, preserving configurations of high perceptual intensity. Instability is visual and structural; material guarantees permanence.
I do not pursue geometric purity or industrial perfection. Texture, irregularity, and material trace are integral parts of the system. Geometry is not polished; it is tensioned.
My research operates at the threshold between coherence and disorganization. I construct systems that vibrate, deform, and may collapse, fixing the precise moment of maximum visual intensity.
Structure is used to analyze behavior.
Behavior manifests as perceptual experience.
CONCEPTUAL FRAMEWORK
My practice investigates the perceptual and physical behavior of systems through visual structures operating between order and disorganization.
Rather than representing nature or built reality, the work reproduces internal dynamics such as pressure, tension, propagation, deformation, and collapse through abstract, figurative, and photographic systems.
The work develops through stratified structures in which each layer fulfills a specific function. Lower layers establish coherence; upper layers intensify internal tensions until the system reaches states of high perceptual intensity. Transformation emerges as an inherent consequence of structural behavior.
Error and chance operate as active variables, enabling the system to shift from coherence toward controlled disorganization. Chaos is understood as a productive condition that amplifies perception without dissolving structure.
Perception and bodily displacement activate the work. The system remains static, yet generates movement through the interaction between structure, material, and viewer.
Material stability allows unstable configurations to be fixed, preserving states of maximum visual intensity over time.
Across all lines of work, the practice operates at the threshold between coherence and collapse, constructing systems that are perceptually activated and structurally dynamic.
STUDIES FOR NATURE
This series emerges from a reflection on the need to approach nature not through representation, but through the principles that organize its structure.
The compositions are developed from geometric systems that suggest growth, repetition, and variation, where each element is articulated as part of a larger whole.
Rather than reproducing natural forms, the works investigate the underlying logics that generate them, establishing a visual language in which geometry functions as a tool to explore processes of balance, expansion, and transformation.
In this context, each piece operates as a study in which form is not the result of isolated aesthetic intention, but of the interaction between rules, displacements, and internal relationships.
These studies operate as a foundation for the development of other series, where these same logics are extended into more defined and controlled systems.
UNPREDICTABLE SYMMETRIES
This line of research explores the generation of perceptual phenomena from symmetrical modular patterns. The works are constructed through the repetition of linear structures organized into three or four adhered layers, without physical separation between them.
The primary phenomenon is optical and frontal. Structural interference between layers produces visual vibrations and perceptual undulations that manifest directly in frontal observation, generating configurations whose intensity and behavior cannot be fully predicted.
Material thickness fulfills a decisive structural role. It regulates the balance between formal coherence and perceptual intensity, allowing the system to reach high levels of vibration without losing legibility.
Secondarily, the structure generates undulating patterns visible from lateral angles. These patterns do not constitute the central objective of the work, but rather a structural consequence of thickness and modular repetition.
Color is incorporated after the formal construction, functioning as a variable that intensifies or modulates the perceptual behavior of the system.
FRAGMENBTED GEOGRAPHIES
This line addresses photography as structural and spatial material, not as a flat image nor as documentary record. The starting point is always a photograph taken directly from the environment, understood as a field of information from which elements defining the spatial experience of the place are extracted and reorganized.
The process consists of identifying what generates the greatest perceptual tension within the original frame—relationships between planes, architectural rhythms, volumes, voids, superpositions—in order to construct a new composition that preserves the logic of the site while introducing an autonomous spatial structure. Fidelity is not established with the original frame, but with the perceptual experience of the place.
The photograph is decomposed and reconfigured through three-dimensional assemblages, transforming the image into a stratified structure. The layers do not seek to fragment the image narratively, but to reorganize it spatially, compelling the spectator to physically traverse the work in order to complete its reading.
The spectator’s displacement activates real variations between planes, generating depth and parallax phenomena that introduce time and movement into the visual experience. This kineticism is neither mechanical nor simulated; it emerges from the direct relationship between body, structure, and perception.
This methodology finds greater potential in urban and architectural contexts, where space is already stratified and constructed in layers. In continuous natural landscapes, where spatiality is more homogeneous, the assemblage encounters greater limitations.
Photographic Assemblages do not function as an autonomous discipline nor as an illustrative complement, but as an extension of the same structural thinking that permeates the entire practice.
