My work moves between painting and writing—two practices through which I register the present and explore the space between being alive and memory. I’m drawn to what exists in between: the time between gestures, the pause between words, the layers between surface and meaning. These subtle spaces—where memory, presence, and language intersect—form the ground of my practice.

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Language is both subject and material. I often refer to it as an expression of the body in relationship with nature, as is it understood by Indigenous communities of the South American lowlands. Through language, I trace the intangible: memory, heritage, and the echoes that shape them. I explore how memory settles into form—into objects—and how meaning gathers through texture, repetition, and erasure, honoring what is partial, fragmented, and still unfolding.

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My work lives in the tension between what is visible and what is remembered, what is articulated and what is lost. This in-between space—shifting, layered, and unresolved—is where my work chooses to reside.

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As part of my research, I study Amy Sillman’s work and her dialogue between drawing and text, shapes and time. Her iterative, process-based approach offers a model for exploring the temporality of form. In contrast, Francis Bacon’s use of orange, and his exploration of the body as both organ and symbol, resonate with my own formal strategies. 

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My ongoing insistence on understanding the present through the transit of my body in time—with objects as symbols and language as a living, mutable resource—drives my movement across materials: painting, installations, drawings, books, readymades, and textiles. I understand materiality as a site of transition, where concepts and questions take form—like the place I come from.