Installation · Performance · Social practice
Iron, wood, QR codes and audio
CampusARS, 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.
[View..]
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.
[View..]
[View..]
[View..]
Azkuna Zentroa Contemporary Art Center,
Bilbao, Spain
[View..]
Salamanca, Spain
Through image, color, repetition, video, installation, and materiality, I seek to make perceptible the relationships between desire, prohibition, guilt, self-affirmation, and mutual "domestication". Proximity, distance, and time thus become active elements of an unstable relationship, where every shift alters the position of the other.
This research also extends into a material and autobiographical dimension, where the domestic space becomes a medium of memory and a structuring element of the artistic universe.
[View..]
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
[View..]
Ça sert à rien pourquoi courir is a sculptural project born from the extension of an artistic universe initiated in 2018 during a residency at ETOPIA. This work is at the heart of a multidisciplinary trilogy, New Medias, New Ways, exploring performance, audiovisual media, and installation around intimate themes such as desire, domesticity, and relational barriers.
Borrowing its title from the song "Les Filles Désir" by the French band Vendredi sur Mer, the work evokes cathartic resignation in the face of an inevitable outcome: that moment when, having tried everything, acceptance gives way to a healing rebirth. Reflecting the thought of Camille Henrot, the work's approach aims to freeze a critical moment to "slow down or arrest manifestations of force to the point where they become aesthetic activities, and therefore, sensual objects of contemplation".The two female bronze figures, erected on pedestals evoking chess pawns, simulate a frontal union through the intertwining of their braids. This false connection suspends movement and transforms the tension of the action into a period of plastic meditation, materializing the graphic and symbolic imprint of a cathartic process.
[View..]
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.
[View..]
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.
[View..]
[View..]
My practice moves between artistic creation, research-creation, and pedagogy, exploring experience, attention, materiality, embodiment, and the relationships between people and their environments.
My work spans sculpture, installation, video, painting, drawing, performance, and Land art, while my current research focuses on situated learning, perceptual de-automation, and contingent artifacts.
My research moves between artistic practice, education and research-creation.
Creation of Contingent Artifacts in Attuned Learning Spaces: An Arts-Based Qualitative Research in Higher Arts Education
PhD in Education (Specific Didactics)
University of Zaragoza, 2025
My doctoral research investigates how situated, material and perceptual experiences can become epistemic mediators in Higher Artistic Education. It develops the Itinerary of Atmospheric Correspondence (ICA), an iterative methodological design combining perceptual de-automation, contingent artifacts, intermodal translation and collective reflection.
From drifting to contingent artifacts
Exploration of Subjectivity and the Environment through Drifting
A research-creation process exploring psychogeographical drifting, intermodal translation and the transformation of lived experience into visual and narrative artifacts.
[View..]