Developing through studio work and theory writing and articulating into exhibition projects, site-specific commissions, interdisciplinary collaborations, education and participation projects, my research-based practice studies the influence of images and imaginative processes in our experience of objects and places. Pointing the attention to the occurrence in real life of imaginative events in the subjective mind, I am interested in dynamics of vision, where I observe the active interplay of material reality and virtual images of perception, memory, fancy and culture. Through survey and analysis, my work proceeds to pin down the cognitive role of visual imagination in relation to the daily use of objects, the need to inhabit places, developing bonds of familiarity, exchanging interpersonal communication and finding a sense of community.

Collecting and organising found objects and pictures, engaging with digital archives and databases and relating to local histories and site-specific locations, I create immersive installations. By means of digital projection and print, they frame empirical situations extracted from real life where the public can observe imaginative phenomena at play. Striving to analyse and unravel the significance of these epiphanies of the imaginative experience, I pair my installation work with an expanded drawing practice, deconstructing the dynamics of imagination and organising its elements in an iconic syntax. Experimenting with drawing strategies, I continuously re-attempt the formulation of a language to translate visual thoughts and enunciate the grammar of imaginative processes. Considering drawing as an act of simultaneous bodily assimilation and mental cognition filtered by the hand, I borrow visual linguistic elements from a variety of disciplines, encompassing pictorial mark making, handwritten notations, logic symbols, diagrams, 3D model making, and expand from traditional drawing into spatial installation and performance.