(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 facilitate movement and organise desire. Despite promising access and transparency, they rely on infrastructures that regulate visibility. I am interested in these display architectures as devices that direct the gaze and condition the body’s experience.

My installations tend to work like film sets, where you can enter the scene and the objects are almost props: they don’t quite do what is expected of them. Barriers are more slippery, but not more effective; gym towels are not fully bleached by going through industrial laundry cycles; windows don’t 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 objects linked to the body and the surface. Through enlargement, repetition or obstruction, I displace ornamental or display elements to render them structural; the decorative organises the space and reconfigures other, less triumphant, more affective frameworks and possibilities.