About

My current practice operates at the intersection of visual arts, anthropological research, and philosophical inquiry, exploring post-anthropocene pathways toward ecological regeneration through the animal realism that emerges when figurative narratives dissolve into abstract gesture.

Through charcoal drawings that articulate tension between presence and erasure, I investigate indigenous visual cultures and their symbolic systems of reciprocal relationships with the natural world. The speed of the trace—pressed and released across paper—constructs figurations that exist in the threshold: faces that stares within fauna’s nature, eyes that hold the human gaze simultaneously.
My work operates within abstract realism, where rapid gestural strokes articulate what exists before and after the light of reason, overpassing the essence that precedes the Modern paradigm («the light of reason») and the constructed self-identity. Each piece explores the tension of the line as it compose between figure and dissolution; between the recognizable and the atmospheric—gestures that speak of bodies remembering an animal intuition.

By deepening the philosophical foundation of new materialisms (J. Bennett) and relational ontologies through visual language, I move beyond anthropocentric representation toward an ecosystemic understanding of existence, where figurative narratives emerging from charcoal’s pressed light create autopoietic (H. Maturana) contexts for instinctive thoughts, fostering human-animal reconnection within planetary understanding.

These drawings function as ritual responses to contemporary crises of identity and ecological disconnection, where the charcoal gesture, the darkness of the powder and the stillness of the fiber of the paper related as a living organism for the human mind facilitating the emergence of multispecies coexistence—extending even to the non-living—through both ethical and paradigmatic transformation materialized in the gesture itself.