STATEMENT OF ARTIST 
2017- I use the senses to connect with my sculptures, sensing the touch of the curves that translate into visual spaces that flow through the piece I build the pieces. The shapes arise from the trace of imaginary lines, they are the invisible record of the movement in time. The movements emerge from the perception of my body, my bones exploring the space; on some other occasions,  they emerge from the conscious observation of the geometries of nature.

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Several references influence today’s works forming a juxtaposed network of curves that build voids, or voids that build curves.
I was always fascinated with the concept of the Mobius strip, where the endless undefined, is the "structural framework" of my current works. It is Mobius and the search of the logic of the constant flow of the curves that regulates the movement. As an eternal french curve tool.

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The flow of the movement of certain marine creatures Is also a space reference. There are no straight lines, unseen gravity, no upwards, nor downwards, no ground to bear. My pieces have no base, neither front nor back, they can be hanged or supported anyway. Each choice reveals different spaces and different voids fluidly connected.

The choice of materiality has to do with the sensory experimentation of my hands in the clay, with the satisfaction of the touch and with the time of the ceramic that allows me to explore movements and spaces. I can flow, rock in the curves, wander until I find the movement of each piece. It is the material that sets the temporal and physical limits, I simply look for them and that gives the result of each piece. The material delimits the thicknesses, the tensions, the supporting structure. With respect to the material, I leave it uncovered, showing its matter without makeup or glazes. I Work at the cellular level of the mass adding elements to achieve different textures and tensions.

The size of the pieces has to do with the size of my bones, of my interstitial spaces.

I am currently trying to deepen and achieve more subtle results in relation to continuous movement, to the points of balance of the pieces. Smaller pieces in every sense.