(b. Vigo, 1999)

I work between image, sculpture and installation, in what I try to think of as the place or scene of the photograph. That place is often perceived as a freeze frame: an image that blurs and does not quite settle. Shop windows covered in mist are no longer hyper-visible, duty-free floors resemble galaxies and floodlights can be blinding. I am attracted to that point where looking is almost an intrusive gesture.

I often use spaces associated with circulation and consumption, designed to organise desire. Despite promising access and transparency, they rely on infrastructures that regulate visibility and employ deceptive tactics. I am interested in these exhibition architectures as devices that direct the gaze and condition the bodily experience.

My installations tend to function like film sets, where you can enter the scene and the objects are almost like props: they do not do exactly what is expected of them. The barriers are more slippery, but no more effective; the gym towels are not completely bleached after going through industrial laundry cycles; the windows do not allow full visibility because they are covered in soap. There is a certain aesthetic of error, of deception revealed: like sneaking in noiselessly and being discovered.

I appropriate gestures of maintenance and promises of desire. Through enlargement, repetition and obstruction, I displace and exhaust these promises until the illusion begins to fail, reconfiguring other, less triumphant, more affective frameworks and possibilities.