I reprogram images of the history, as well as fragments of certain everyday realities that evaporate, plus other images that come from the most intimate personal memory; and experience new contexts and senses with the immense flow of provocations that these sources provide me.

Then some projects emerge from this way of acting, for which I intentionally choose media such as painting, drawing or engraving, because it is my way of preserving time. I mean the instants of daily life that I refuse to lose. Also, the time contained in elements and spaces of work that characterize some ways of knowing and surviving or resisting, which involve human beings and that I found in the legitimacy of traditional crafts, in several techniques of craft production, in the orality as a form of diffusing knowledge and the experience as a means of learning. I even call for the coexistence between the implicit and necessary time to produce art works in perhaps conventional disciplines, with other means of production that also form part of the current art scene.

I think, translate, transcribe or rewrite, with the intention of engendering interstices to question those behaviours imposed by the accelerated rhythm of the postmodern maelstrom, fostering dialogues between tradition and contemporaneity. While I try ways to blur the limits that, conventionally, include or exclude certain practices of the Art concept and these searches mobilize my projects. Projects that happen between materials, tools, texts, photographic and sound records, weaving links.