An instant is a period of time that is singled out in an emotional way. It is very brief and unrepeatable, like the moments of incidence of sunlight that we receive daily. The lighting conditions vary from second to second and the day becomes a sum of instants of light that connect us emotionally with our environment. That emotional, ephemeral and at the same time cyclical quality of sunlight is the reason for this artwork.

The piece is made up of two groups of elements: a series of translucent objects suspended in space and mirrors located at specific points near the entrance to the gallery. The mirrors receive the sunlight and guide it towards the prisms, generating a sequential narration of reflections that walk on the floor and climb the walls. Despite how fixed the structures are, the sensation received is one of unpredictable movement. Every day there is a dance of light, with a choreography that is improvised at the moment. The path of a cloud, for example, responds to that random condition of the natural that could pause the display of reflections.

Cualidades efímeras is a series of glass sculptures that share the same geometry. The pieces receive light from different and alternate sources, which generate multidirectional projections that progressively change direction. The orthogonal rigidity of the structures contrasts with those elastic shadows that expand towards different places. They are palimpsests of ephemeral projections that are cyclically rewritten. The work implies a transition from the contained image, bounded in pristine glass objects, to the expanded image, visible in the paths of light that overlap and subtly follow one another.

This optical artifact emerges from the ability of geometry and reflective matter to conduct light, to build or simulate an "infinite" space. The encounter of light with a geometrically precise arrangement of mirrors creates a scenario of unusual spatial simulations in which the gazes of the spectators meet.

An atmosphere of light sculptures floods the entire interior space of the optical artifact, which is a space parallel or superimposed on the “here” of the viewer. It also constitutes a kind of homage to The Aleph by Jorge Luis Borges, to that point in space that contains all the points, to the vision of the universe concentrated on that nineteenth step in the basement. To enter such an unlimited scenario, you only need a certain ocular accommodation. The Aleph implies a metaphysical abstraction that leads us to think about the tension between infinity and unreality, about the human's ability to apprehend knowledge, the Whole, the four corners of the universe, located in a space as vast as it is delimited.

Forma y apariencia is an immersive artwork that focuses on the displacement of points of view and, consequently, on a peculiar interaction with the virtual image. When the spectator enters a simple structure with three mirrored walls and begins to walk through the space, they can observe different versions of a polyhedron. At a specific point of the displacement, a sculpture of light can be perceived, described as a virtual cube floating in space. If the point of view is changed, immediately a flat figure is noticed, then again the corner of the polyhedron and thus the image is modified.

I like to understand the art piece as unfolding of light exercises that take place in a mirrored interior. The rebounds that come and go within a specific geometry create an immaterial sculpture that sets a dialogue between form and appearance.

The Palimpsestos series allows us to return to the origins of photography when, in the first half of the 19th century, captured images were obtained only through chemical processes and light. Taking up such processes of creating images connects with the most basic sense of optics, a branch of physics that focuses on the behavior of light, its properties and interactions with matter. At the same time, this series refers to optics, because in order to capture the trajectories of light peculiar lenses have been used: liquids like water and solids like optical artifacts with unique geometries.

 The artworks emerge from the intention of grasping the light, of capturing the traces of its path. They were born in a dark room, as from games between photosensitive paper, chemical substances, water and an arsenal of translucent objects that I have been building. They are the result of possible ways to apprehend the obsolescence of light, the exact moment when light sculpted the space, the geometric shadow theater that takes place in a small scene during an instant of light.

I have spent several years chasing light, conceiving optical devices to apprehend it. In this process, I have been particularly interested in the dynamic drawings generated by the projections of sunlight throughout the day. With these obsessions in mind, I dedicated myself to think about how the devices that I build could evolve in a way that they became dynamic, that they involved movement. I imagined the idea of ​​the moving lens and began to work with water as a medium for the transit of light.

Water has the ability to adapt to any form that contains it, that receives it. It is a fluid, colorless and shapeless matter and its fickleness allows light to organically change its path. I find water as a poetic matter and also the fact that a drop can sculpt it in a way that will be unrepeatable. With each fall, it directs the light at its own pace and accommodates itself in its container.

Tiempos lumínicos, is the result of this search process. The projections that flood the space respond to a geometric and optical study that determines the circular shape of the containing lens and the precise location of the drips. The artwork is activated by the falling drops of water that guide time rhythms and light rhythms and that, at the same time, activate the perceptual experience of space, unique in each drip.

In 2019 I lived for a few months in Seoul during an artist residency at the Korea Museum of Modern and Contemporary Art. In Seoul, the modern accent of an Asian capital coexists with surprising natural landscapes inserted in the dynamics of the city itself. On one of my daily walks along a river, I noticed that at a certain time of day light patterns were projected onto a nearby bridge. The river water acted as a dynamic mirror. I took advantage of those lighting conditions to move my studio to this setting and I brought some of my work objects with the intention of recreating something I had imagined: a water prism. Finally, I reconstructed these conditions in my studio and developed a work based on the interaction of water with a beam of light.

The artwork is a light essay in a space with controlled conditions that recreates a peculiar rainbow. It consists of a dynamic projection of the decomposition of light that reveals the spectral colors. But the static image of the rainbow constantly breaks its own planimetry, explores its spatiality in a succession of unsuspected patterns. The water-lens bounces off any movement, it is interrupted, it stabilizes, it settles.