Artworks

Medium: geomantic fresco mural created with Mayan and mineral pigments, integrating principles of solar geometry and geomancy. This mural was developed at the Oaxaca School of Muralism, guided by Mexican muralist Jesús González, and in collaboration with regenerative Guatemalan architect Rocío Araujo.

Cyanotype on cotton fabric with natural sheep wool felt from Argentina

40 × 60 cm

Natural sheep wool felt on natural cotton fabric

35 × 65 cm

Materials: gelatin, glycerin, sodium propionate, and blue food pigment.

This biopolymer sculpture explores the fluid boundary between organic and synthetic matter. Created through a process of controlled heating, cooling, and spontaneous deformation, the material retains a fragile translucency that evokes marine membranes and vegetal tissues. As it dries, it bends and curls into unpredictable forms, embodying both growth and decay in a single gesture.

While I have long worked with fabrics, paper, water-based media, found objects, and technology, Translucent Organism marked a turning point in my practice: the beginning of my research into biomaterials as regenerative living archives, translating laboratory learning into a sensory meditation on ecological temporality, fragility, and care.

A found child’s chair sculpted with bioplastic (potato starch), sea salt, and natural pigments. 

Materials: organic cotton textile (2 x 5 m) painted with añil (indigo) dye from Santiago de Niltepec, Oaxaca, hand-embroidered with naturally dyed cotton cords; includes 20 spherical magnets, six metal pulleys, and custom motion elements, stainless-steel spheres, seed pods, a round mirror, and a found child’s chair sculpted with natural pigments, bioplastics (potato starch), and sea salt.

Technology: mechanical servo motors, Arduino board, and video projection.

Activated by a live sound performance at LM Studio, the piece transforms the gallery into a fluid space of resonance and movement.

By utilizing indigo-dyed textiles made through traditional Oaxacan and Japanese techniques, it bridges the gap between traditional craftsmanship and contemporary experimentation. By combining organic materials, found objects, and small mechanical systems, “The Sea Is a Soft Machine” reflects on the complex relationship between human technology and creation, as well as our interdependence with nature, technology, and memory, highlighting our complex relationship with the vast sea.

Tactile Memory (complete series)

2025, Hyères, France

18 sheets, 21 × 29.7 cm each

Mixed media: cyanotype, India ink, añil pigments on cotton rag paper

Botanical pigments — rosemary, cempasúchil, and palo de Brasil tinctures; cochineal, avocado, Mayan blue, and indigo watercolor pigments (dry and wet); ceramic bead; Sennelier French Ultramarine Blue and Cyan watercolors bound with honey and gum arabic; India ink and graphite on cotton paper

50 × 65 cm

Watercolor on paper

24 × 32 cm

Botanical pigments — Mayan blue, and indigo watercolor pigments (dry and wet); ceramic bead; Sennelier French Ultramarine Blue and Cyan watercolors bound with honey and gum arabic; India ink and graphite on cotton paper

50 × 65 cm

Watercolor pigments (dry and wet); India ink, graphite on paper over wood frame

Explore: https://chromatic-waters.vercel.app/

This interactive digital sound piece forms part of a broader investigation into environmental acoustics, sensor-based technologies, and the material poetics of place. Recorded underwater in the Calamuchita and Suquía rivers of Córdoba, Argentina, the work draws from the canto rodado — the resonant friction between rock and current. Through this interplay of softness and solidity, motion and rest, the piece invites a sensory encounter with a landscape in constant change. It is an encounter between hardness and softness, stillness and flow, freedom and weight — a conversation between the river’s body and its moving breath.

Wearable copper weaving for technology integration.

Materials: handmade paper composed of pochote fiber (softened by cooking with sodium carbonate) and white cotton, incorporating mica mineral and natural tinctures of cempasuchil, grana cochinilla from nopal, granada, and añil (or indigo).

This work emerges from a process of material listening—mixing botanical dyes and earth-based substances into the pulp to let color, light, and seed interact as living elements. It unfolds as an act of transformation and renewal, where vegetal, mineral, and pigment coalesce into living matter. The paper becomes a terrain of metamorphosis: pigments bleed and fuse, mica captures fleeting reflections, and coriander seeds hold the potential of future growth. Its luminous surface arises from the dialogue between fibers, dyes, and embedded minerals—each element capturing memory differently. The ochres and blues recall earth and sky, while cochineal and marigold carry the warmth of fire and sun. Created through traditional Oaxacan papermaking methods, the piece becomes both surface and soil—a meditation on fertility, impermanence, and the regenerative intelligence of materials, where matter records the memory of its making.

The lamp is woven from rice paper and vegetal fibers, dyed with cempasúchil, lime, and palo de Brasil, and features seashell pendants collected from the Oaxacan coast. The paper hat is tinted with beet tincture. The earth-painted textile beneath is cotton prepared with eucalyptus and painted with soil from the Mixteca region.

Materials: añil-dyed cotton, embroidery, seashells, natural pearls, and quartz stones.

The Argentinian poncho is a hybrid garment rooted in Indigenous textile traditions and gaucho culture. Worn across the Pampas and Andes, it carries histories of resistance, protection, and identity—now reimagined as a contemporary art-ritual garment, blending ancestral textile knowledge with wearable art materials. 

Dress in collaboration with French-Senegalese designer Youssoupha (Diweye Cr.ations) — sculpted off-shoulder bodice, front cargo pockets, and a flowing silhouette in indigo-dyed cotton — becomes a gesture of belonging and wind-like movement, a wearable landscape that carries memory, resistance, and renewal across geographies.

These pieces are part of a series of ritual garments that reinterprets the Argentinian poncho—a hybrid form rooted in Indigenous weaving and gaucho traditions —and through contemporary design and cross-cultural dialogue. Each piece merges ancestral textile knowledge with sculptural tailoring and symbolic ornamentation, weaving together protection, identity, and transformation. 

Woven and embroidered fibers and cooper wire, digital photography transferred on cotton

The air speaks — The Humidity Reader listens.

Slightly sweaty, totally fabulous. 100% attitude.
I ❤️ sound art 

Medium and materials: humidity and temperature, plant, soil, water, sunlight

Technology: Arduino + DHT22 sensor (humidity and temperature data), OpenFrameworks for real-time sound and visualization

This ongoing experiment translates environmental data from a living plant into generative sound and motion graphics. Variations in light, humidity, and temperature produce shifting tones and rhythms, allowing the environment to “compose” its own score. The work explores how technology can serve as a translator of ecological intelligence, revealing patterns of communication between living systems and digital interpretation.

Through this prototype, I have become increasingly aware of the energetic and material footprint of the tools that make such translation possible. This insight opens a critical inquiry for my next phase of research: how to design low-power, biodegradable, or repairable interfaces that minimize waste while maintaining sensory richness. The project thus becomes both an artwork and a test site for rethinking technology’s role within regenerative ecosystems.

Medium and materials: humidity and temperature, plant, soil, water, sunlight

Technology: Arduino + DHT22 sensor (humidity and temperature data), OpenFrameworks for real-time sound and visualization

This ongoing experiment translates environmental data from a living plant into generative sound and motion graphics. Variations in light, humidity, and temperature produce shifting tones and rhythms, allowing the environment to “compose” its own score. The work explores how technology can serve as a translator of ecological intelligence, revealing patterns of communication between living systems and digital interpretation.

Through this prototype, I have become increasingly aware of the energetic and material footprint of the tools that make such translation possible. This insight opens a critical inquiry for my next phase of research: how to design low-power, biodegradable, or repairable interfaces that minimize waste while maintaining sensory richness. The project thus becomes both an artwork and a test site for rethinking technology’s role within regenerative ecosystems.

Visits CDMX I — Of Water Resiliency (2024, Ciudad de México, MX)

Indoor gallery installation view

Materials & Techniques:

Rooftop and indoor gallery intervention – rainwater sculpture using cement, transparent plastic tubing, LED light, and repurposed glass vessels with video projection on a suspended plastic container.

Floating Texts –  vegetable paper and graphite infused with glycerin.

Paper Bodies and Found Boxes – handmade recycled paper with fibers from Casa Lu’s garden and the bark of a fallen neighborhood tree; black ink, blue pigment, corn fibers, soil, clay, lime, and natural pigments. Found a wooden box with a metal key.

The installation "Of Water Resiliency" explores water’s circulation as both a material and a metaphor for adaptation. Rainwater collected on-site flows through a sculptural network of tubes and glass vessels, illuminated by soft LED light and accompanied by a video reflecting water’s various states—liquid, vapor, and sediment. It highlights Mexico City’s fragile relationship with its underground rivers and droughts, rooted in ancestral wisdom about our connection to the unknown. Created during a rainy season after a severe water shortage, the work embodies resilience in women, water, and waste. The accompanying video, made after a walk conversation with a fellow artist, deepens these themes of care, interdependence, creativity, and renewal.

Hand-made paper made with fibers from a garden in CDMX, Casa Lu, black ink and blue pigment, rectangular wood box with metal key, 6.2 x 4 ins.

Papel hecho a mano con fibras del jardín en CDMX, Casa Lu, tinta negra y pigmento azul, caja rectangular de madera con llave de metal, 16 x 10 cm

Floating text, vegetable paper, 3.15 x 8.7 ins.
Texto flotante, papel vegetal, 8 x 22 cm

Glyph-inspired drawings created with soil and clay, painted double-sided in red and blue pigments on gallery glass walls. These marks represent ideas exchanged during dialogues with invited participants in the Guided Visits creative process.

Visits CDMX I — Of Water Resiliency (2024, Ciudad de México, MX)

Outdoor gallery installation view

Materials & Techniques:

Rooftop and indoor gallery intervention – rainwater sculpture using cement, transparent plastic tubing, LED light, and repurposed glass vessels with video projection on a suspended plastic container.

Floating Texts –  vegetable paper and graphite infused with glycerin.

Paper Bodies and Found Boxes – handmade recycled paper with fibers from Casa Lu’s garden and the bark of a fallen neighborhood tree; black ink, blue pigment, corn fibers, soil, clay, lime, and natural pigments. Found a wooden box with a metal key.

The installation "Of Water Resiliency" explores water’s circulation as both a material and a metaphor for adaptation. Rainwater collected on-site flows through a sculptural network of tubes and glass vessels, illuminated by soft LED light and accompanied by a video reflecting water’s various states—liquid, vapor, and sediment. It highlights Mexico City’s fragile relationship with its underground rivers and droughts, rooted in ancestral wisdom about our connection to the unknown. Created during a rainy season after a severe water shortage, the work embodies resilience in women, water, and waste. The accompanying video, made after a walk conversation with a fellow artist, deepens these themes of care, interdependence, creativity, and renewal.

Installation: rooftop rain-water collection sculpture including tubes and LED light, gallery soil and pigment drawings on glass wall and floor, video projector with video and sound piece from the visits project in CDM projected on plastic container and several small pieces: (1) Roaming territories, handmade paper with fibers from Casa Lu Art Residency’s garden and corn fibers, dirt, clay and acrylic paint, 6 x 8.3 ins.

(2) Blueness from the sky to the water, handmade paper with fibers from Casa Lu Art Residency’s garden and blue pigment, 4 x 13 ins. (3) Off to the left, handmade paper with fibers from Casa Lu Art Residency’s garden and corn fibers, dirt, clay and acrylic paint, 11.8 x 18 ins. (4) Vist CDMXII, paper with fibers from Casa Lu Art Residency’s garden vegetable paper, 5 x 7.8 x 1.6 ins. (5) Vist CDMXIII, paper with fibers from Casa Lu Art Residency’s garden, black inc and blue pigment, found wood box with metal key, 6.2 x 4 ins. (6) hanging written lanterns made of vegetable paper, natural glicerine, graphite and india ink.