The developed plastic research revolves around the interaction of forms and natural phenomena in an abstract geometric world.
Water, wind or plowed land are represented through the interaction of modules grouped in layers or planes.

The fluids as elements of our daily life, were the most immediate to be worked on. From then on, shapes such as grass, a vibrant meadow, or physical phenomena such as surface tension, have required extensive study and reflection for their representation through geometric elements.

Two tendencies arise from this reflection; The first is the representation through modules grouped in three-dimensional planes called “Studies for Nature”

Unpredictable Symmetries are deformations in the plane due to optical illusions achieved by the interaction of symmetric modules.

They have their origin in unpredictable symmetries. The premise in this research is the interaction of a solid with a pattern of symmetric modules. What will be the result of this interaction?

Where is the symmetry of the modules broken and where does it remain?

Questions like these arise at the moment of reflecting on the work.

The artistic project is developed on an aesthetic exploration of reality of a three-dimensional and sectioned type. From this approach comes an original, technically articulated creative practice that combines photography and assemblage.

In the works, the construction of three-dimensional realities is developed from photographic plans with a vision that is determined by geological and biological reliefs found in photography.

By making visible what a single shot could hide from us, photography is demystified from its purest essence to highlight the spatial complexity that can result from it, entering a world of different perspectives and realities through the movement of the viewer through of the installation, thus giving rise to a variable that derives from the moment or place from which the work is observed.

These are structures that communicate with the outside through a multiplicity of planes, shapes and points of view. In these works the volume depends on the images and their depth of field.

The works presented are, for the most part, made of acrylic, compressed anime and photographic paper.

I started my assembly work from the Precambrian formations called Tepuy, located in the South of Venezuela in the Canaima National Park, thanks to my love of mountaineering.

Later I did a photographic work in the Venezuelan Andes through a solo trip through the valley of Pico Humboldt. Subsequently, the chosen place was the Nahuel Huapi National Park in the Argentine Patagonia, and later along the entire coast of Rocha in Uruguay. “Ávila on cement” joins the photographic sessions previously exposed, which show different points of view of the Waraira Repano National Park, and with which the artistic work made a leap to photographic interpretations, with the elimination of the square format and the creation of a composition where the cuts or delimitations of the typical landscape of a photograph are not felt, this thanks to the composition in the frame which is carried out by analysing the dimensions of the elements that play an important role within the work, to then place them strategically .