Fertility Ring

My practice works with photography’s excess and fragility, reusing images through installation, material transformation, and circular forms. Drawing from archives and lived experience, I explore cycles of life, ecology and belonging.

In a world saturated with imagery, choosing a photo-based practice is both deliberate, audacious, and perhaps unconscious. Photography is everywhere: unavoidable, mundane, yet fragile in its excess, its value constantly at risk of dissolution. The photographic medium becomes an uncomfortable shadow that always follows us—a residue, a negative profile, an elongated and distorted reminder of who we are. Both a universal presence and a singular material, it is uniquely shaped by lived experience and collectively interpreted through cultural transmission. It is deliberately within this terrain of ubiquity,complexity, fragility, and devaluation that my practice begins.

Raised by artist parents in an unconventional environment rooted in art and making, I learned early that pictures function not only as representations but as ways of thinking and relating to the world. Growing up off the grid—between my father’s studio and the surrounding natural landscape—and later moving between Madrid and Mexico City, I developed a non-linear, spatial relationship to the stills that documented my unconventional childhood. Encountering diverse social contexts and ways of living made fixed narratives feel insufficient. In my work, vernacular imagery appears alongside theoretical and historical references, without hierarchy, allowing legitimacy to travel between them. These configurations reflect both my own development and the ways significance is produced today—through overlap, proximity, and interruption, rather than a single linear perspective.

This early awareness of the gap between experience and its visual trace continues to inform my artistic process. At the core of my practice is an ongoing inquiry into how images traverse and acquire resonance. Photography, for me, is not a stable medium but a mutable one. I understand it as a continuous flow, drifting across formats and methods, in resonance with its inherent instability. From physical assemblages to experimental printing, or the transformation of a single graphic element into a monumental sculpture, in my work, photographic materials remain present as an imprint—constantly reshaped, tracing circularity and the rhythms of repetition, desire, loss, consumption, and return.

The themes I explore—cycles of labor, growth, absence, repurposing, and renewal—mirror the processes of my practice, where reuse and circular dynamics shape how images travel and relate. As an intentional act of care, I engage with images through collecting, preserving, and reactivating them, allowing their material and temporal traces to resonate anew. I draw visual elements from a wide range of sources—art history books, women’s magazines, museum archives, family albums, online culture, and vernacular imagery—and integrate them forming a visual ecology that embraces recurrence, transformation, and the migration of meaning. In this context, repurposing extends beyond collage: it becomes a method for translating images into bodily and spatial encounters, where scale, materiality, and context allow interpretation to unfold over time.