The work began with a two dimensional piece of felt but quickly evolved into sculptural forms. Some pieces were sculpted first, then sprayed and dyed. This process blurred the lines between painting and sculpture, creating a dynamic tension between the predictable and the unpredictable. I found myself questioning what defines each medium—what makes something a painting versus a sculpture? This exploration pushed the boundaries of both, resulting in works that possess the qualities of both 3D paintings and sculptures.

The experimentation came from my time at La Fragua, where the learning curve was steep, and the challenge was both sculptural and conceptual. At times, the process felt almost pointless—absurd, yet serious. It became more about the idea than the actual act of creation. This psychological challenge forced me to confront when to let go of control and when to hold on to a direction, catching myself in the act of creation.

The importance of time became clear: acknowledging the need to slow down, focusing on one idea, and moving deliberately in that direction. This process of slowing down and focusing on a single premise allowed me to really dig into the problems at hand and explore how I saw things.

Modularity became a key element in this work, a way to break things down and rethink them. It prompted me to write more, think more, and find new ways of balancing ideas and materials. As I explored the balance between 2D and 3D, I used materials that embody both strength and fragility. The ability of the materials to crumble yet still hold together allowed the forms to shift and contort, remaining dynamic and alive—embracing constant transformation. This tension between durability and vulnerability became a metaphor for the balancing act of life itself—transitioning, evolving, and adapting.