I am interested in investigating the interweaving of memories that my family, friends and neighbors have built over different generations. These have allowed me to understand that the memories that used to be anchored to physical spaces and objects in the past have been virtualized and dematerialized due to the processes of technological massification that we are experiencing today. Through my work I seek to find and unveil portals that allow us to glimpse the visual, architectural, technological, emotional and psychosocial issues that define the construction of memory in my generation. These aspects have allowed me to build installations that evoke nostalgic images, the product of hybrids between archives, stories, photographic captures, and multimedia experiences. They are scenographies that announce the changes in family relationships, in the spaces that surround them, and in the devices that mediate and re-define them.

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In this way, although in my work I use photographic devices to capture images of familiar and intimate daily life, I try to move away from a serial and immediate production. Instead, I start from these images to build visual and spatial experiences that allude to the deep and historical relationship that this medium has with painting. Due to this, I have resorted to the creation of architecture, trompe l'oeil and ghostly images that question the perception of time in what is observed. They are silent places that invite you to stop and contemplate to meditate on the logic of memory. Thus, the lights and colors that I usually use acquire a prominence that allows the different aesthetic and identity nuances investigated to be felt in the atmosphere of the spaces. On the other hand, through the shadows and reflections of the public, I seek to find some resonances of the memories represented in his own memory. Thus, the interactive presence of the viewer is essential in my work.