Shaping movement in the air through dance enabled me to come up with the best way to capture curved lines and land them in my work. Carving clay paves the way for finding balance between heaviness and lightness. To what extent is it possible to play, stretch, compress and reach a limit whilst shaping volume, yet avoiding break?

Only a small fraction of reality, embodied in a coloured fabric strip or a light source inside the sculpture, is appreciated through its countless windows and doors. Working out understanding concepts should always involve different angles and points of view. To complete and reconstruct the entire sense people would need to walk around the sculpture peeping through its many holes.

I developed these pieces of work to recreate floating, oneiric, and poetic spaces where sculptures are displayed as full independent entities without the need of pedestals, just for the mere sake of volume. The final photographs represent immaterial and intangible shapes so as to cause a dialogue between the three dimensions to happen, eventually stimulating the mind to recompose and imagine volume.

All this work has been possible due to my obsession with human face, my feelings trying to cope with sadness or destruction. How could I represent this sensation of suffering some people tend to hide without getting trapped in realism? How to work out a universal approach to personal feelings?

I have used sculpture to convey graphic language such as calligraphy, based on photos of sculptures to come up with two different alphabets: a curve-shaped one made in wood and a lineal one made in cardboard.