Selected Artist — Open Call 2026
About
From 2002 to the present, I have been part of initiatives that link art with different communities — people in street situations, addictions, and vulnerable neighbourhoods. I am interested in processes where the collective and “thinking with others” act as engines to inhabit shared spaces; I am moved by the possibility of building a better world, starting with the closest environment.
From this collective sensitivity, my work explores geometric abstraction, which I approach from a personal and playful perspective. Through my pieces, I rehearse dialogues between figures, lines, and colour variations, exploring three-dimensionality through relief and the distance from the walls. My body of work integrates drawing, painting, objects, sculpture, and installations, expanding since 2018 toward the use of sound and lighting as key elements to create environmental compositions.
My creative process begins with the exploration of sketches and scale models using simple materials such as paper, cardboard, pencils, or acrylics. Once the central idea is defined, I select the definitive materials that best represent it, allowing the technique to adapt to the intention of the work.
Selected works
La luna era blanca y negra, 4 × 3 m, 2016 — latex on wall & acrylic on wood
Todo lo que no se ve, existe (III), 1.60 × 1.60 m
Todo lo que no se ve, existe (IV), 1.40 × 0.70 m
Todo lo que no se ve, existe (II), circle Ø 1.50 m
Serie ‘Todo lo que no se ve, existe’, 8 × 7 × 2 m — enamel on metal
Desconcierto. Elementos para un cambio, 6 × 4 × 2 m — acrylic on wood
Ondulaciones, 78 × 60 × 5 cm, 2022 — acrylic on wood
Buscando un dibujo, 30 × 40 cm, 2021 — acrylic on paper
Q & A
Is geometry a constraint or a freedom for you — and has that answer ever changed?
Geometry is something that comes naturally to me; I connect this practice to a mental way of approaching cosmic symbols and sensations from a creative and personal place.
Walk us through your process — where does a piece begin, and how do you know it's finished?
My work begins by visualizing it in my mind; there are pieces that appear as ideas and need to be represented, materialized. These generally involve a method of procedures. I also like to devise works in the form of installations that don't come to me naturally and require me to process the idea to find the best way to bring them to life.
Is there something outside of art — a system, structure, or phenomenon — that quietly shapes how you think about form?
Yes, my spiritual path, being socially open to others, and being supportive, with a strong sense of the collective, closely accompanies my practice and my interests as an artist and a being in the world.
What does a viewer miss when they see your work as 'just geometry'?
What gets lost is the understanding that all the parts that comprise my work speak of collective accompaniment. My pieces are made up of several parts where there may be separations or tensions between one another, but together, the work is complete.
What's the last rule you set for yourself in the work, and did you keep it?
Incorporating the organic into my geometry. This began in 2022 with an interactive and immersive installation about water, and today I find myself deepening this approach a bit more without losing the geometry which, as I already mentioned, is something natural to my visual process.
Describe a failure or a dead end in your practice — something that didn't work.
One of the things that doesn't work for me is the high expectation I place on everything I do. The issue is not the result itself, but the time that result needs to show itself. Sometimes the process drags on, and this generates a feeling of dissatisfaction that is also part of everything and of life itself. There are also situations within the local art scene that mean artistic practice lacks the necessary opportunities for the number of good artists there are in my country.
