He is visceral, intuitive and instinctive. His practice is deeply rooted in nature and his language is straightforward.

I was lucky to meet Pat Lipsky and Barney Hodes, both teaching at The Art Students League of New York. I had the opportunity to learn about their profession for two and a half years. I learned how to stretch a cotton duck canvas or mix oil colours. They taught me about composition and lyrical abstraction, spoke to me about Antonio Canova, Medardo Rosso, Clement Greenberg...

For me it was crucial to learn the technique and skills to get to know the medium and its possibilities. To later on have the freedom to manipulate it and create with my own voice or expression.

I moved here after the lockdown last year. Teià and the surroundings are mainly filled with cut-flower farms and greenhouses and l dreamed about finding my studio in such a bucolic landscape. After asking around farmers, I bumped into a woman who was curiously named Rosa. She was the one who opened the doors of my current studio.

No doubt. Nature teaches me to surrender to the unknown, to chance, error, multiplicity, transformation. I am slowly learning to cultivate an innermost patience. That state of serenity that nature distils when destruction and creation coexist. Everything is impermanent and we are the protagonists of the transience of existence.

My routine tends to be repetitive. Day after day I knead clay and start working. Thousands of times, tons of thousands of times... It is that repetition that frees my hands from thought. And that freedom is the mother of all creation.

My performative routine is deeply rooted in exploration. Triggered by the fascination with the behaviour of matter and decomposition, my work sprouts from multiple combinations of the four elements: the unprocessed earth, the ritualistic fire, the ephemeral air we breathe and the water that nourishes us.

Raw materials should not be conceived as mere physical material, since they contain the will of nature. The Universal Consciousness is present in the mud unearthed after having been buried for ages. The Anima Mundi is latent in geological materials such as basalt, sulphates, selenite or volcanic stones collected to formulate glazes. Melted in the remaining ashes of a wood firing or the hair of wild horses, all these organic materials are interwoven in my practice in a ritualistic manner to transmute and tell new stories. The memory archived in their core metamorphoses, creating highly symbolic connections.

Crucial. My work involves being in contact with materials that can be harmful for the skin. So cleaning and protecting my face and hands is part of my daily routine. My skin is pale and freckled, it needs extra care because is super sensitive.

I love the smell of earth, citrus and flowers from the oils and The Super Volume shampoo. It reminds me of those winter mornings picking lemons from my garden and stirring up the damp soil where I planted lavender, rosemary, and lemon verbena.