I am also working on the “Trencadís Series”, a reinterpretation of modernist trencadís, decontextualizing its fragments and treating them as autonomous forms, without an architectural context. I replace the original hardness of ceramic with treated natural fibers, generating a new dialogue between the structural and the organic.

This leads to a freer, more gestural body of work rooted in observation. Each fragment interacts and enters into dialogue with the others, giving rise to an unexpected form, where every fragment depends on the others to create this “Whole.”

I am currently working on the “Runa Series”, based on decontextualization, displacement, and re-signification: how an element conceived for a specific environment, when placed in one that is foreign to it, loses its original function and acquires a new visual and symbolic dimension.

When matter interacts with unfamiliar elements, it is redefined. I explore decontextualization as a process of transformation.

Everything begins with the abandonment of fragments of manufactured materials that were not intended for recycling, but instead displaced into a natural environment to which they do not belong. In this dislocation — in this interruption of the intended cycle — a new dialogue emerges between materials: industrial and organic.

From this approach arises the “Runa Series”, where displaced fragments of industrial matter enter into dialogue with organic matter — the earth — integrating, eroding, and transforming.

In a world saturated by the digital, painting becomes for me an act of resistance: a return to the tangible, to what is essential. My work is situated within the realm of abstraction.

The passage of time is a central element in my practice. Time permeates matter. My colors are neither flat nor luminous. Surfaces are not uniform or clean. I work with textures, cracks, wrinkles, and broken forms as visible memory.

I explore textures and shapes that arise from observing the “abstractions that occur by chance,” transforming the unnoticed into presence, materiality, and emotion.

I work with traditional techniques combined with industrial materials—plaster, pigments, varnishes, sand—as well as reclaimed papers, natural fibers, and leather.

As supports, I use traditional canvas and wood.