SELECTED WORKS
My practice investigates what happens when bodies, images and familiar forms become difficult to recognize. Through fragmentation, concealment, repetition and transformation, I create perceptual situations in which forms shift between body, object, image and environment.
The body is a recurring starting point, but I increasingly treat the image itself as material. Moving image, photography, drawing and found materials are transformed, repeated, displaced and reconfigured until they acquire an unstable physical and spatial presence. I am interested in the point at which an image begins to behave less like representation and more like a form—with movement, rhythm, light, shadow and density.
My experience of displacement between Venezuela and Germany informs this approach as a condition of perception rather than as a subject to illustrate. Across my work, everyday objects are displaced from their original contexts, creating a space between recognition and uncertainty. My current research extends this process from the digital image toward installation and physical space.
Troscurpos: De la Corona al Viento
(From the Crown to the Wind), 2024-2026
Single-channel video, black and white, sound, 5:12 min
This work explores the instability of the body, memory and place. A digitally fabricated lithographic image of an eroded crown appears as an archaeological trace of uncertain origin, introducing an object whose history cannot be established. Close-up gestures—hands touching skin, arms folding inward—shift until the body can no longer be located as a coherent figure. Then the sea, mist and tarp-covered machinery appear, creating an environment suspended between different temporalities.
The soundscape of nocturnal insects, moving water, chains and percussion extends the images into an atmosphere of anticipation and residue. Rather than constructing a fixed chronology, the work moves between fragments in which past, present and possible future remain unresolved.
Screenings – 2026: Blackwood Filmfestival – Kurzfilmsause Freiburg, Freiburg (Germany) • STARPTELPA Riga Performance Festival (Latvia) • Public Shorts Video Festival, Berlin (Germany) – 2025: Special Mention – Festival de Cine de Villa De Leyva (Colombia) • T.I.V.A. Tirana International Video Art Festival (Albania) • KURZFILMTAG, KulturEnergieBunker, Hamburg (Germany) • Écran Libre New Media Festival (Canada) • WNDX Festival of Moving Image (Canada) • Speak Volumes, Out of the Blue Cinema, Paris (France) • Mientras tanto Cine (Uruguay) • Movement and Light, GISELA, Berlin (Germany) • Tendermesh Film Fest, Berlin (Germany) – 2024: Rare Effect Festival, Lisbon (Portugal) • Intermediaciones – Video Art and Experimental Video Showcase, Medellín (Colombia).
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Stills
La Grieta (The Rift), 2025
Wood, acrylic, marker, terracotta, graphite, 131.8 × 109.2 × 8.4 cm
La Grieta reorganizes discarded wooden fragments from a workshop in Hyderabad into a structure between object, drawing and landscape. The fragments retain traces of their previous use while becoming part of a new visual system.
Marks resembling wheels, roofs and mountains are drawn across the wood. An unreadable Hindi distribution mark is treated not as language to be decoded, but as visual material and extended through drawing. Writing becomes image; discarded material becomes structure.
An irregular opening exposes the wall behind the work, introducing absence as an active element of the composition. The work shifts between recognition and uncertainty, allowing material, mark and context to continuously change their roles.
Installation view, Topographies of Tents, Terracotta and Time, Srishti Art Gallery, India, 2025. Curated by Mathew Partridge
Corporeo, 2020
3-channel video installation, color, black and white, sound, loop
This installation reorganizes fragments of the body into moving images that no longer remain tied to their anatomical function. Throat, tongue and other bodily details are isolated, enlarged and displaced until they can be perceived as geological formations, landscapes or unfamiliar objects.
Presented simultaneously across three channels, the images form a spatial relationship rather than three independent videos. Repetition and proximity allow one transformation to alter the reading of another.
The work treats the body as source material for image-making: a familiar form is fragmented, displaced and transformed until its physical origin becomes uncertain. The installation marks a shift in my practice from depicting the body toward constructing perceptual forms from it.
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Installation view, körpE[h]RLICH, xpon-art, Hamburg, 2020
Stills
Untitled, from the series Lonas del Jardín, 2022
Found construction tarp, acrylic paint, ink, marker, teip, rope, light, variable dimensions
This installation begins with a discarded construction tarp found in Germany. Tears, stains, repairs and traces of previous use remain visible rather than being removed. Drawn lines and enlarged fragments of fingers enter into these existing marks, creating possible routes, borders and bodily traces.
Suspended from the wall and extending onto the floor, the tarp moves between image, object and spatial form. Its folds, gravity and changing illumination continuously alter what can be seen.
The work treats a used surface not as a neutral support for an image, but as material that already contains traces, memory and physical history. Drawing, body and found object become inseparable within the space.
Installation view, Historische Zehntscheune Stadthagen, Germany, 2022
Resguardo y Presencia (Shelter and Presence), 2012–ongoing
Video and photo-actions, textile, variable dimensions
In this ongoing series, the body is partially concealed beneath a green textile. Wind, movement, light and framing continuously alter the relationship between what is visible and what remains hidden. The figure appears, disappears and changes shape without leaving the image.
The pieces has a simple physical operation—covering the body—but turns concealment into a perceptual process. The textile does not simply hide the figure; it transforms its contours, movement and scale. Recognition becomes dependent on minimal visual information and on the viewer’s attempt to reconstruct what is present.
The work uses the body as a changing material between visibility and disappearance.
Exhibition view, Resguardo y Presencia, Künstlerhaus Vorwerk-Stift Hamburg, 2022
Resguardo, 2022
Textile, chair, variable dimensions
Resguardo y Presencia - acción n 1, 2015
Single-channel video, color, sound, 5:19 min
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Stills
Still
The Core, 2026–ongoing
Moving image, digital archive, installation research
The Core develops a single bodily image into a system of varous independent moving-image transformations and repeated elements. Minimal gestures are isolated, looped and reorganized until the original body becomes an unstable field of organic forms.
Repetition produces a tension between recognition and uncertainty: a form may appear familiar without being identifiable as the same image.
The project marks a shift in my practice from moving image as representation toward moving image as material. I am currently investigating how these digital forms can acquire spatial presence through projection, light, sound, translucent and reflective surfaces, and physical optical devices.
The next stage is to move the image beyond the screen and test what it can become as a spatial form.
The Core — Grid view, 2026-ongoing (silent)
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The Core — Detail, 2026 (silent)
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