Installations
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Installations *
A study of faith, vulnerability, and endurance — these works move from the self toward the collective, where softness becomes a form of strength.
Mary and Jesus
Mary and Jesus is both a critique of dogma and a love letter to slow crafts. Constructed in yarn and suspended within a metal frame, the work reimagines the Madonna and Child as fragile, tangled forms — a meditation on the contradictions between faith, protection, and care. It continues my exploration of the tangled lines of life that connect and bind us all.
Crochet and knitting are slow, deliberate acts. Once dismissed as domestic or decorative, they hold a quiet resistance — the belief that tenderness and time can still shape meaning. Here, softness meets steel; the frame stands against the vulnerability of the yarn, as if compassion itself must be defended.
Behind the figures, a static television screen flickers — a reminder of both interference and connection, of the cosmos still echoing through the noise. Mary and Jesus honours life not as a doctrine, but as something sacred in its fragility: the pain of those already here, and the hope held for those yet to come.
SER.
(To be, being)
Ser was developed in 2019 during my final year at the University of Pontevedra, in collaboration with sound artist Mattia Benedetti.
Rooted in questions of identity and perception, the project emerged from a long struggle to recognise the self reflected in the mirror. It became both a confrontation and an act of acceptance — a dialogue between the being within and the one seen from without.
The work takes the form of a series of self-portraits and a multimedia video installation.
Though I have since moved away from self-portraiture, Ser remains an important step in my artistic journey. It helped me define my aesthetic and understand the person I was then — allowing me to move forward. My practice today continues to look inward, but through the lens of the world around me, finding meaning and connection through the act of making.
Diagram of the installation space
Installation in situ
Diagram of the space
Background noise
Background Noise was presented in Perugia, Italy, in 2018, as part of an installation combining emptied alcohol bottles with a projected video playing on a continuous loop. Created in collaboration with sound artist Mattia Benedetti, whose composition shapes the work’s auditory landscape, the piece reflects on collective desensitisation to suffering.
The video draws from footage sourced online — fragments of news and YouTube clips depicting war, hatred, and destruction. It mirrors the fast consumption of images that defines contemporary life: a constant bombardment of violence and despair. The emptied bottles stand as symbols of our urge to numb ourselves, to consume and forget rather than confront the world we have built.
Background Noise questions whether we were ever meant to carry so much awareness of the world’s pain — yet warns of the danger in turning away from it entirely. These miseries can never remain mere background sound without costing us our own humanity.
The following video contains graphic content that may be harmful or traumatising for some viewers and flashing lights that may trigger seizures. Viewer discretion is advised.
Single-channel video looping continuously within the installation space of ser.
Content Note: Includes artistic nudity and symbolic knife imagery woven into reflections on self-destruction and transformation.