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My work is process oriented, vested in the handling of materials that are often the product of industry. Manipulation in tandem with transparency and light became key elements. I am continually looking for new and interesting materials. Aluminum mesh, used for window and door screens, recently caught my attention for the wide range of ways it could be manipulated, its transparency, its reflective quality and how it has the capacity to transcend its humble nature. I started making forms inspired by shapes and patterns found in nature, combining and mixing them so that they would resemble some sort of natural organism gone awry. Within those, the body is still present, through the gestural quality and suggested movement. Their scale suggests my own limits. Working on smaller forms within the structure allows for scale shifts, defining different areas with the help of color, integrating elements such as yarn, LED lights, sequins and such, which act as graphic elements and create forms within the form. The play with lines, create make-believe volumes, light, reflected light and color paired with applied color allude to the illusionary tale of our world.
Inspired by the study of fractal geometry and chaos theory, and more recently quantum physics, I have found a niche that lie at the intersection of mathematics and spirituality and have been incresingly intrigued by the connection between science and our perception of beauty. After having done, for over 15 years, sculptural works that deal mainly with the figure, most of the time using untraditional materials, from salt and sugar to industrial scraps of metal, my attention got diverted to the relationship between man and nature, [or] man and his environment, the forms and patterns that connect all big and small.

I am particularly interested in the theories that investigate the nature of reality, the underlying order in our universe and the possibility of an infinite number of paralell universes. It goes without saying that the more I got involved in theoretical physics, the more my definition of nature has moved to include all that we cannot see, the infinitely small and the infinitely big.

And this is precisely what most of my sculptural work is about: chaos and order, the meeting of the micro and macro worlds, perspective shifts and the continuum between seen and unseen dimensions. From a sculptural point of view, this is translated in scale shifts, the co-existence of the figurative and the abstract, as well as in my working with light, densities, balance, volume, as well as the ideas of dispersion, disruption and interference. While those ideas are of major importance to me, my wish is to make work whose appeal moves beyond ideas and theories and stand alone as an evocative and moving object for many.