About my work
My work holds together a number of distinct tendencies, mixing observational, imaginative, and philosophical elements.
It begins with an ecosystem of forms that has emerged through a long-running, instinctive drawing practice. These shapes are not planned. They appear directly, forming fragments of scenes where dramatic relationships of conflict, collaboration, dependency, and competition begin to take shape. They feel persistent and familiar, yet never fully fixed.
Alongside this, I explore the visual field prior to the layer of projected meaning. I isolate moments where seeing shifts into an open field of colour, texture, and form. Familiar structures loosen. What remains are fragments that resemble reality but stand independently, held together by composition, surface, and detail.
The work builds where these elements meet. The visual field becomes a ground for the drawn forms to enter, overlap, and reorganise. A balance between compositional control and disregard emerges, as these complete elements come into contact and compete for attention.
This extends into the materials themselves. Digital and analogue processes are brought into contact without being unified, allowing their differences to remain visible as they influence one another.
The human figure introduces another point of resistance. Portraits, whether sculptural or generated, carry a strong pull toward recognition. Working into them disrupts that stability, creating a space where the image is both familiar and unsettled.
The process continues through extension rather than resolution. A composition may appear complete, even convincing, but is carried further, allowing new relationships to emerge. Forms, colour, and surfaces shift in response to one another, without a fixed endpoint.
What holds the work together is not a single system, but a set of elements that remain in relation, sometimes aligning, sometimes pulling apart, but continuing to occupy the same space.
About me
Born in São Paulo, Brazil, residing in London, UK.
Early in life, I studied industrial design, where I was exposed to a range of disciplines including printmaking, life drawing, large-scale illustration, graphic design and aesthetic theory. Although drawn to more open-ended artistic approaches, I initially chose a more structured path.
At 19, I moved to California to volunteer at a Buddhist Retreat Centre, where I remained for seven years. During this time, I worked on the construction of a temple, contributing to large-scale sculptural projects ranging from small cast forms to monumental figures, as well as several diverse projects related to Buddhist sacred art. Alongside this, I developed a close relationship with the philosophy, studying traditional texts and engaging in sustained contemplative practice. This included working with systems of visualisation and symbolic representation, where every element carries layered and often open-ended meaning.
A significant part of this period involved a deep engagement with perception, particularly how the senses relate to the construction of self and experience. Through this lens, sense impressions became both a site of attachment and a potential point of release, shaping an ongoing interest in how meaning is formed and dissolved.
At 27, I moved to London and eventually settled in a shared warehouse space in Hackney Wick, surrounded by a community of artists and makers. This marked a gradual shift back toward a more personal practice, after years working within a framework where individual expression was secondary. During this time, I developed an interest in drawing, painting and image-making, including digital photography, image manipulation, and AI-generated imagery.
In recent years, I experienced a strong pull to define a potential personal body of art. I returned to a long-standing drawing practice working with a recurring set of forms that had persisted over time. In parallel, I developed a photography practice focused on image composition exploring my relationship with sense impressions. Recognising these practices as core parts of my visual language, I began to bring together drawing, painting, photography, digital processes, and philosophical inquiry into a more cohesive body of work.
Contact us
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