My practice addresses the trace as an expression of human presence and a site of self-awareness, understood simultaneously as physical remnant and inscription of complex inner experience. The handprints of Paleolithic caves constitute a conceptual matrix: the gesture of imprinting one's own hand upon stone functions as a primordial assertion of existence and identity—a consciousness of self that is at once individual and collective.
Subjects inscribe themselves in the world through modest, contradictory, even uncomfortable traces. I work with remains and vestiges—marks, stains, found objects, photographic fragments, impression matrices—as indices of damaged or fleeing presences. The trace emerges thus as a site where memory, wear, violence, affect, and zones of opacity overlap and accumulate.
The work unfolds as a silent laboratory, closer to doubt than to affirmation. Formally, the use
of everyday or traditional materials and the selection of domestic or discreet spaces respond to an ethics of the minimal: working with what "should not" be relevant—a worn object, a residual mark, a stain—inviting a reading between the lines and the discovery of what remains unspoken.
My practice moves across painting, drawing, photography, object, artist's book, and relational actions, conceived as distinct modes of inscribing the trace.
Taken as a whole, the work configures itself as a field of investigation into an aesthetics of intimacy: the search for some truth within everyday scenarios, where our marks—visible, erased, or barely suggested—continue to define, obliquely, the experience of occupying a place in the world and the perpetually unstable construction of identity, in a territory where vulnerability and responsibility toward others remain constantly in tension.