My practice is structured around a persistent question: what operations make something belong to a place while something else remains outside? It begins from the conviction that material and symbolic boundaries do more than organize space—they produce forms of subjectivity and shape our relationship to intimacy, belonging, and the other. Working primarily through painting, in dialogue with sculpture, photography, and found objects, I approach these media as devices capable of producing experience rather than merely representing it; spaces where matter, image, and gesture become means of questioning the structures that shape the ways we inhabit the world.

The house, the fence, the window, the archive, and domestic objects appear as different technologies of delimitation. Each establishes a boundary from which something can be protected, observed, remembered, or excluded. More than objects, they are operations that simultaneously separate and connect, protect and expose, grant access or restrict it, determining what remains visible and what stays concealed. Understood from this perspective, these devices reveal the mechanisms through which both space and psychic experience are produced.

My process unfolds through operations of accumulation, displacement, concealment, fragmentation, and assemblage, reorganizing images, objects, and spaces to generate new relationships among them. From these operations emerges a psychic landscape that does not reside within the subject, but is constituted where the body comes into relation with the objects, images, and architectures that organize its experience.

Painting occupies a central place in my current research because it shares the logic of the very devices I investigate. I do not conceive of it as a representational medium, but as a technology of delimitation in itself. Like a fence or a threshold, it establishes a distance between the body and the image; it reveals while concealing, promises an access that is never complete, and transforms the boundary into the very site of experience.

In an era shaped by systems of classification, surveillance, and access, these operations extend beyond architectural space and actively participate in the construction of contemporary experience. My work is not organized around a repertoire of objects, but around a set of operations that reappear across different materials and contexts. Each work is conceived as a threshold—a space where the categories of inside and outside, presence and absence, intimacy and exposure cease to function as stable oppositions and instead become open conditions of experience. Rather than describing these boundaries, my practice seeks to unsettle the mechanisms that produce them and the ways they determine how we inhabit, perceive, and belong.