I build my present work from questioning the memories of sensuality and crudeness that exist in the physical contact between bodies.
The maternal relationship, the couple, oneself with the society and the relationship with our own body are variables that state 
expectations to what this object body should be. Body language is subjective to each culture, religion evaluates its purity and 
media dictates its appearance.
     
I notice my body to understand what I do with my work. How I move, how heavy I am. Am I big? 
Am I close to another body? Am I close enough? Am I using too much or someone else’s space? Am I narrow? From questions I ask about
my daily interaction with the social and physical space then, How do I shape myself?   

Gravity and the body. The structure that supports our weight and the hanging volumes that loosely or strictly conform our shapes is 
from where my sculpture and installation evolve. With non-rigid materials like fabrics and yarn I build worm-like structures which 
lack the rigid skeleton that supports and gives autonomy to the volume.     

My sculptures and installations structurally depend on the contact with the architecture. Having at least one point - a very small 
area- of the sculpture in connection to the wall, floor or ceiling, can transform the direction in space of the three dimensional 
element. This could be suspended, falling, erecting its structure or even expanding in circumstances when the piece has more than
one connection with the architectural space.
 
Gravity tensions the soft sculpture by its weight. The sculpture is fragile, it struggles to maintain a permanent form. However, 
the figure travels in form. The conflict exists in “the body/sculpture” defined and redefined by a context in flux.

What makes us feel comfortable?, Are we standing in a dangerous field or in a safe one?
When do we feel really protected or comforted? Can we trust our environments?

This work explores psychological definitions of comfort in terms of its subjectivity and relation to the social environment. 
Combining childhood psychology and the symbolisms of religions I reevaluate our comfort zones and idealized protective realms.  
These ideologies  both embrace the influence of protective entities, the first one in the role of the parent and the second in the 
figure of a God, Mary or any supernatural idol. Whether in baroque or minimal fashion these transformations always present the 
material as a tactile and sensuous surface, which in the form of a soft object or contained space recreates childhood rites as 
playful or tensional experiences.

When I was a child, my biggest discovery was the low and dark space between two beds in the lonely guest room. In that space I 
found a cave to hide my secrets.The deep comfortable feelings of those days are not the same as I remember them today. 
Now when I watch kids pretending to 
be adults,it seems mysterious, extraneous and quite disturbing.
This work re-creates these psychological and physical stages of those games. Using materials like paper, tape, crayons and
video, I build colorful spaces with a seemingly cozy atmosphere thatcapture the attention of children and adults alike.