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Using a pseudoscientific methodology, the artist seeks to discover the territory of which, as an artist, she is a part, by personal choice. Explore, walk and observe. Analyze the areas of accumulation of materials, the frequency of the finds, the influence of the weather or the tide. Collect manually and investigate the origin of the materiality found, with scientific advice. It carries out the collection of these structures on the beaches of Formentera with the authorization of the Ministry of the Environment of the Balearic Government. 

In this work, the massive presence on the beaches of the remains of an animal species, belonging to the Porifera class of the Spongiide family, called common marine sponge, is questioned. These remains are a specificity of the territory. What were the conditions that occurred for the arrival of the sponges on the beach? What processes and metamorphoses did they go through? Imagine their history and journey until their fortuitous meeting. In the methodology of his work, he incorporates painting to explore the physical capabilities of the collected skeletons of marine sponges. From the absorption property of the material, observe the changes in texture, volume, weight, and flexibility.

Measure and weigh the marine sponge on a precision scale, before and after immersing it entirely in water pigments.
Record the physical changes produced and then pour the material absorbed by the sponge onto the support. Seek to get as many results as possible. Paint pools, settles, cracks, blends, or blends. traces remain
of the porosity and natural irregularity of the sponges. The experimental result, despite its methodical nature, is strange and accidental. With this working method, he seeks to create a possible emotional understanding of the landscape.



From a contemporary approach, I work as a visual, physical and sensitive experience.
I explore the repetition of forms as a pulse, a heartbeat that marks the rhythm.
Like the circadian rhythm affected by light and darkness, my work changes with these stimuli and it is then that the viewer experiences them, discovers multiple forms and completes the work with these sensations.
I use materials to create architectural systems, intricate and complex weaves, and I also use water to transform them into organic and friendly elements.
I take the Bauhaus concept of the work as a unit of art, design and craft. And I draw from movements such as geometric abstraction, optical art, avant-garde and contemporary architecture.
The practice of the craft, the research, the play, the look at the everyday, are the ways to develop my work.


Nace en Buenos Aires el 20 de enero de 1973.
Es artista autodidacta y ha complementado su formación y práctica asistiendo a talleres y cursos, entre los que se destacan: 
2017-2018- 2019 :: Taller de "técnicas textiles" con Milagros Álvarez Colodrero. 
2018 :: Curso intensivo "más de papel" con Silvia Brewda

2018 :: Taller de collage "simultáneas" con Tulio de Sagastizabal y Eduardo Stupía.
2019 :: Taller "el ABC del mercado del arte" por María Lightowler de LLuvia Oficina. 
2019 :: Curso de "Historia del Arte Textil" con Mónica Van Asperen en el Una. Año 2019
2018 :: Taller "Los Origamis de la Bauhaus" con Marcelo Gutman, en Once Siete Estudio de Arte. 
2019 :: Taller "Los Origamis Curvos de Josef Albers" con Marcelo Gutman en MNAD - Museo Nacional de Arte Decorativo de Buenos Aires, Argentina. 
2020 :: Curso de "arte óptico, cinético y lumínico" con Adriana Laurenzi / Taller de "exploración creativa" con Maru Alvarez Colodrero. Taller de "simetría dinámica" con Rebeca Mendoza / 
Taller de "dibujar en el presente" con Viviana Blanco 
2021:: Taller "número de oro" con Rebeca Mendoza. 
2022 :: Taller "color moderno" con Rebeca Mendoza. 

Participa del Salón de Arte Textil, organizado por el CAAT - Centro de Argentino Arte Textil  en la Bolsa de Comercio de Buenos Aires, en el año 2016. En el año 2018 es convocada por Erica Heidenreich de Solsken, para participar junto a Vera Somlo e Ignacio Ruiz de Galarreta, en la muestra "Demioergos".
En el año 2022 realiza su primera exposición individual en el espacio de arte de Ingot Resguardo, convocada por Carla Mazzei, restauradora de bienes culturales y gestora de arte y colecciones.
Desde hace 5 años, dicta talleres de papel calado, compartiendo su experiencia y técnica.


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