Ven a jugar conmigo, 2022
Installation · Performance · Social practiceIron, wood, QR codes and audioCampusARS, University Campus of Teruel, Spain

Ven a jugar conmigo is an interactive installation that creates a temporary space for encounter between two strangers. An open structure made of iron and wood establishes an intimate yet permeable environment, where participants are guided through a series of actions via QR-linked audio instructions.

As the interaction unfolds, the distance between the two participants gradually changes, encouraging physical proximity, exchange and shared attention. The work emerged in response to the loss of physical and social forms of encounter intensified by the COVID-19 pandemic, questioning how digital mediation has transformed the ways we relate to one another.

The installation treats art as a social and relational device, while the space itself becomes responsive to the actions, movements and interactions taking place within it.
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Visual Essay, 2022
Photography · Collage · Experimental Process
Spain & France.

Visual Essay is a collection of subtle traces of my biography and lived experiences, particularly those related to intimacy and personal relationships. Through photography, collage and water marbling using water collected from different territories in Spain and France, the work transforms memories, colours, textures and details of nature into a fragmented visual record. References to significant audiovisual experiences are also incorporated, creating connections between personal memory, sensory perception and the environments I have inhabited.

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New Medias, New Ways, 2024

Video Art · Projection · Installation · Site-specific
Former Pignatelli Park Warehouses,
Zaragoza, Spain.

New Medias, New Ways gathers several works developed over nearly four years around a single research universe. Through video, installation, performance, sculpture, and painting, the project explores the relationships between identity, childhood, sexuality, religion, and power. The works specifically question how cultural and educational norms shape representations of the body, intimacy, and relationships with others. The project was presented as part of Un Gran Atasco, a collective exhibition tracing artistic practices developed in Spain between 2009 and 2020.

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New Medias, New Ways to Make Love, 2018
Video Art · Projection · Site-specific
ETOPIA Center for Art and Technology, Zaragoza, Spain

New Medias, New Ways to Make Love is a video artwork that subtly records my first romantic relationship with another woman and the process of discovering love and intimacy from a new perspective. The experience opened up a personal reflection on how we learn to relate to others, to our own bodies, and to forms of affection that challenge previously learned frameworks.

The work brings this deeply biographical and visceral experience into dialogue with new media and technology. Developed for the LED media façade of Etopia, the piece uses digital imagery and architectural projection as new forms of expression through which something profoundly human—intimacy, desire, vulnerability and emotional connection—can be communicated. The contrast between the technological scale of the medium and the personal nature of the story becomes central to the work: technology is not only a support, but another way of exploring how we transmit and experience intimacy.

III Media Façade Academy, Etopia Center for Art and Technology, Zaragoza, 2018.

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Ez utzi inork zure burua menperatzea (EUIZBM), 2018
Video Art · Projection · Site-specific
Azkuna Zentroa Contemporary Art Center,
Bilbao, Spain

Ez utzi inork zure burua menperatzea (Do Not Let Anyone Domesticate You) is the second part of the New Medias, New Ways project, developed following my participation in the III Media Façade Academy at Etopia and an artistic research process at Azkuna Zentroa in Bilbao. Conceived as an intimate, real-time sociological experiment, the work explores how time, place, circumstances and free will shape relationships and human behaviour. Rather than following a predetermined narrative, the film developed through an open process in which real events progressively became part of the work. Personal memories, recorded images, experimental video processes, animation and recurring symbolic elements are woven together into a fragmented visual narrative, continuing the exploration of intimacy, desire and relational bonds initiated in New Medias, New Ways to Make Love.

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La reina las quiere rojas, 2019
Art Installation · Video Art · Projection · Site-specific
Salamanca, Spain

La reina las quiere rojas is the third part of the New Medias, New Ways trilogy, bringing together sculpture, video, painting, collage, found furniture and light within an immersive installation. Through image, colour, repetition, video, installation and materiality, the work explores the relationships between desire, prohibition, guilt and self-affirmation, while questioning the processes of mutual “domestication” that shape intimate relationships.

The domestic space becomes both a medium of memory and a structuring element of the work’s autobiographical universe. Proximity, distance and time become active elements within an unstable relationship, where every shift alters the position of the other.

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Refugio, 2021
Wrought Iron Sculpture. Collective Exhibition “Fahrenheit 1962” · Nazaret-Del Mar Library, Valencia, Spain

The home as a matrix of the artistic universe. Refugio takes the form of the facade of my village house, a real and symbolic place from which several narratives at the origin of these works are constructed. The house thus becomes a matrix-form: a physical, memorial, and affective space that connects the different pieces of New Medias, New Ways to Make Love

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Ça sert à rien pourquoi courir, 2023

Cast Brass Sculptural Set.
Valencia, Spain

Ça sert à rien pourquoi courir is a sculptural work born from a deeply personal experience: a relationship that began and came to an end in the province of Teruel. The work focuses on the suspended moment immediately before the end, when everything is still present but its disappearance has already become inevitable.

Two female figures cast in brass face one another, their braided hair intertwining to create a fragile and ultimately false sense of union. Presented on pedestals reminiscent of chess pawns, the figures remain physically independent while their braids become their only point of contact. This suspension transforms a painful moment of separation into a sensual object of contemplation, exploring the tension between attachment and rupture, movement and stillness.

Runner-up Award at the 2nd National SPIRITU Young Art Prize · Museum of Sacred Art of Teruel, Spain.

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Résidence Ungría, 2023
Artistic Research Residency · Ethnographic Research · Site-specific Practice
Fuentes de la Alcarria, Guadalajara, Spain

Residencia Ungría explores the reciprocal relationship between people, place and the non-human environment. One of its processes began by entering the forest at night, with a mixture of curiosity, respect and fear, to create a light installation conceived as a temporary portal—a way of making perceptible something that usually remains unseen.

The following morning, the installation had been transformed by the movements and interactions of the local fauna. These traces revealed another participant in the work, turning the installation into a record of an encounter between human intervention and non-human agency.

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Espacios que habitan, 2023
Short Documentary · Artistic Practice · Rural Territory
15 min · Video
Aragón, Spain
Directed by María Arespacochaga and Alberto Vega

Espacios que habitan is a 15-minute short documentary following the stories of three women artists who have chosen to live and create in the rural landscapes of Aragón. Through their experiences, the film explores care, alternative rhythms of life, nature, community, relationships and interdependence, highlighting the particular ways in which art and life become connected to rural territories.

My contribution emerged from an artistic practice developed in the Hocino de las Brujas, Las Parras de Martín, Teruel, a landscape close to my home village of Pancrudo and a place of personal significance. Working with light and darkness, I explored the tension between attraction and respect for an environment that cannot be fully controlled or revealed, using light as a temporary portal through which usually unnoticed aspects of the landscape could become perceptible.

The film extends this situated practice into an audiovisual narrative, connecting artistic creation with territory, community and different ways of inhabiting rural environments.

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Luces del pasado, 2022

Site-specific· Installation · Light Art · Participatory Practice
Villalba Baja, Teruel, Spain

Luces del pasado is a site-specific light installation created in the Andalusian-origin caves of Villalba Baja, Teruel, which were used as shelters during the Spanish Civil War. A sequence of coloured lights marks a path through the darkness, inviting visitors to enter the caves and encounter traces and inscriptions from different periods of their history. The journey culminates in the largest cave, formerly used as a school, where visitors gather in a circle to read testimonies from local inhabitants by the light of torches and mobile phones. By combining light, darkness, oral memory and sensory experience, the work transforms the caves into a temporary space for encounter, belonging and the exchange of knowledge between generations.

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Trazando huellas, 2022

Site-specific · Installation · Participatory Practice · Artistic Research
Walking, botanical collection, image-making and local memory
Pancrudo, Teruel, Spain

Trazando huellas is a participatory practice-led research project based in a rural area and grounded in the collective memory of its residents. Walking, listening, collecting and image-making serve as tools to identify and share the tangible and intangible traces that shape a place.

The project frames artistic practice as a site for connection, knowledge sharing and the collective construction of narratives, where the territory unfolds through the lived experiences of its inhabitants. The site-specific research approaches the landscape as an active partner in the creative process, exploring the dynamic relationships between body, environment, memory and community through walking, observation, active listening and immersion.

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