sole.
jofre.
bellagamba.
The objects in most of my drawings shift between observation and invention, forming unexpected relationships through repeated marks, tension, and gentle stillness. They explore space, composition, texture, line, and proportion in relation to both the body and the viewer. Many begin as simple studies that evolve into more complex, dynamic compositions. Elements traditionally associated with still life—or observational drawing—are juxtaposed within abstract settings.
In the Mound series, I began to experience drawing as a form of archiving time—each stroke recording presence. I found beauty in form and stillness, a space that feels like a lapse between full and empty. I wanted to give meaning to the mundane while finding a quiet rhythm in the act of building a drawing: soft, meditative gestures; small, measured pencil strokes in an almost tedious multiplicity. My drawing practice became a spiritual ritual in its own right.
In the Play series, I drew inspiration from the overlooked—ordinary objects whose patterns, lines, and shapes often go unnoticed. This body of work emerged as a way to find whimsy in the mundane, where repetition and abstraction transform the familiar into something quietly joyful. Influenced by the surfaces and patterns of textiles, these compositions are built through meditative mark-making and subtle shifts in form. Here, drawing becomes both playful exploration and contemplative practice, inviting the viewer to pause, notice, and consider the beauty within the everyday. Through this series, I continue to explore the idea that meaning can be found in simplicity—especially when it reveals itself slowly.
More recently, I have shifted my practice to incorporate watercolor, expanding my exploration of texture, color, and fluidity—but most importantly, toward a new kind of language. The movement of water and pigment introduces a different spontaneity—less rigid, more playful. Patterns emerge and dissolve, and abstraction becomes a way to translate memory, nature, and sensation. I am leaning more fully into mixed-media approaches, allowing color and movement to guide the composition, embracing the unexpected while keeping the process both intuitive and deliberate.
2025
