My artistic practice begins with a simple gesture: the line, in its patient, orderly, and constant repetition. Like a bricklayer building a wall brick by brick, my work is constructed stroke by stroke, valuing discipline, time, and attention as elements that are as essential in the process as in the final image; there, both the line and the brick find their reason for being.

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The almost obsessive act of repetition becomes an exercise in reflection and in recording the passage of time, which for me—considering it finite—is the most valuable thing I possess.

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Through drawing, I explore the relationship between the material, symbolic, and affective value we assign to objects, images, and above all, to time. By taking banknotes, stamps, old documents, and other everyday graphic supports out of context, I seek to reveal the stories, myths, tensions, and contradictions they conceal behind their functional appearance.

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My projects engage in dialogue with personal and collective memory. They question the idealization of the past, point to the fractures behind symbols of power and belonging, and confront cultural and family heritage. Collecting runs through my practice—the need to contain, classify, or discard is manifested in my relationship with the images I select and accumulate. To draw them is, at the same time, an act of appropriation and preservation, building a collection that exists only through my hand and my time.

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My interest in architecture translates into a pursuit of order: images with defined boundaries, governed by self-imposed rules that determine everything from the format to the arrangement of the elements. These coexist in tension with the inevitable imperfection of freehand drawing and the architectural precision of detail.

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At its core, my work seeks to make the viewer pause and observe, to notice the minute details, the passage of time, the movement of a shadow, and the repetitions that build and condition.

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