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.
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Visual Essay · Photography · Collage · Experimental Process
Spain & France.
(Bio)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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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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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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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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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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Art Installation
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.
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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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Cast Brass Sculptural Set. Itinerant Exhibition in Monreal del Campo, Calamocha, and Daroca (Teruel), Spain
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.
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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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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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Operating at the intersection of artistic practice,
education,
and research-creation,
this multidisciplinary work explores
attention,
materiality,
embodiment,
and the sensitive relationships
between people and their environments.
Spanning sculpture,
installation,
video,
performance,
and Land art,
my current inquiries focus on situated learning,
perceptual de-automation,
and the generation of contingent artifacts
as mediators of shared knowledge.
education,
and research-creation,
this multidisciplinary work explores
attention,
materiality,
embodiment,
and the sensitive relationships
between people and their environments.
Spanning sculpture,
installation,
video,
performance,
and Land art,
my current inquiries focus on situated learning,
perceptual de-automation,
and the generation of contingent artifacts
as mediators of shared knowledge.
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.
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.