Ranging between diverse media, including sculpture, installation, video, and performance, my work analyses the potential of the image through the crumbling of Western imagery and its representations. My attention is particularly caught by moving images from which I identify both individual and collective matrixes. Drawing on the cinematographic language, both historical and contemporary, as well as on digital media, the research questions the balance between absence and presence, monument and movement, representation and reality using processes of deconstruction and reformulation of visual and verbal codes.

A recurring element is the investigation of the military context and its rituals, from which I appropriate symbols and aesthetic paradigms, such as arms, badges, and uniforms, or even specific gestures or postures, re-elaborating the latter in sculpture and performance. In this way, roles and actions bound to an idea of offense and defense are decontextualized in the works and voided of any symbology of belonging or spectacular intent. Repeated gestures, slow and extended gaits, dysfunctional devices, and stage costumes are the result of a procedure of abstraction and fragmentation of the original content, given to formulating new interpretations and relations of meaning.

While operating on history and its representations and through re-elaborating typical elements of military performance, cinema, and theatre architecture, I try to question the hero archetype in order to deconstruct the rhetoric of the hero figure in favor of a subjectivity with no provenance, race, or gender.

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