La piel a je n a is a nomadic project of situated experience that investigates and stresses the limits of the body itself towards the surfaces of the habitable context. It investigates the changes of materiality between bodies presenting different skins sought in the landscape. A project that had its beginnings in Sardinia, Italy and Budapest, Hungary, and production in an art residence in Barcelona, ​​Spain and Cereggio, Italy, the artist's temporary art residence.

The objective of the project is to extend and finalize its limits in the Argentine territory, particularly the province of Córdoba, since it is its birthplace.
The work seeks to stress the differences of the territories by investigating the center/periphery question. It is a device that introduces a dialogue with the territory through a unique experience located in a specific territorial insertion.



Fragmentos e insterticios de la materia is the result of a path of methodical inquiry, taking as a base, on one hand, the human body as matter and, on the other, its projection, analogies, and differences with other matters. The work investigates matter through how it manifests itself to the senses and seeks to understand what remains in the shadows or in total darkness. Consequently, the question arises: Are only those distinctive marks on matter and perceptible with the senses what differentiates each body in the world?

Serie 1 - Clay - 2020
Sombras y plantas -Lithography  - 2019 -.jpg



Lithographs on polyester

Over-the-body scans
Shadows and skins in the meeting of shared belongings in search of a fragmented totality.
The unfinished characteristic of the subject is a good starting point for an analysis and investigation of the body. Therefore, the device that gives rise to the production is based on a fragment of the body in search of absolute materiality. The exploration and investigation of discourse begins with the body itself as the support and matrix of production. That, in turn, I go through an analytical phase of abstraction and evidence of any bodily indication towards a stripping with the intention of reaching the substance of that body stripped of stereotyped forms. Arriving at absolute materiality as a record of a human presence of this here and now: the flesh. The production analyzes the concepts of identity and symbolic discourse from an understanding of the body itself as the trigger and matrix of production. In a story that proposes to mark and reflect on the condition of women, of one's own body, within the existing tensions in the context. At this moment, I am interested in lithography and behavioral art in the search for simultaneity and overlapping of meanings: between skin and plant shadows.
The shadows as emptiness? Identities as a superposition?
The overlapping of skins between the body and the register of plant shadows presents the multiple belongings and the layers that dialogue and make up identities. Shadows as potentially empty habitable space.





From the woman's own condition in the idea of ​​searching, of encounters and disagreements, of the problems about the different conceptions of the feminine, I am interested in a story that proposes to mark and make aware of this condition of femininity, of one's own body, within the existing tensions in the context. The power of the image itself in a story in search of capturing the shared identity of being a woman. It is in the tension between the clear and the diffuse that the fragment of the body takes center stage in its own identity. The body is presented as a record that makes it possible to discover a particular gesture of a specific and ineffable moment, but which, however, accounts for the feminine presence and a universal feeling that goes beyond cultural and temporal limits.