I am after the poetic and political potential that emerge from making things. I see my work as being a mediator of the multiple agencies involved in the making, be them historical, natural or cultural, while steering away from representation.

While being a young artist in Argentina and in The Netherlands, the postcolonial political and artistic scene I was immersed in made me develop a keen interest in history and strategies of decolonisation that involved collaborations with others. My early work responded to a need for understanding how things come to be, how materials behave and what interactions I could foster between my own agency and that of the materials and people I was encountering.

This notion of ‘other’ expanded very quickly to embrace logics of co-existence beyond the human, and to frame my work into a post-human perspective.

At the moment I am fascinated by how creative transpositions amongst language systems, animals, plants, raw materials and man-made objects facilitate endless opportunities for meaningful encounters amongst all sort of agencies.

With the pandemic, I started practising dream incubation as a research methodology for projects in the making.