My artistic practice begins with a question I consider urgent:

How do we look at animals?

What does our way of representing them reveal about our relationship with them and, ultimately, about the way we inhabit the world?

In a time when ecological crisis and technological acceleration have radically transformed our perception of nature, I propose a visual experience that does not offer answers but instead opens questions.

Through a contemporary technique of chronophotography, developed within my practice, gathering sequences of animal movement and assembling them into a single image, I aim to reveal invisible structures: natural choreographies, flight patterns, and trajectories that escape ordinary sight. These images do not freeze a moment, but condense an expanded temporality: a way of seeing time as a fluid, non-linear phenomenon.

My work is situated in the tradition of cabinets of curiosities, not as an accumulation of rarities, but as a device for visual inquiry. In these contemporary cabinets, the boundaries between art and science dissolve. The natural world no longer appears as an object of control or taxonomic study, but as a sensitive territory where everything is interconnected.

From Ornitografías to Entomografías and Fluctus, the core of my work is a call to perceptual empathy: inviting the viewer to look with new eyes, to see animals not as symbols, study subjects, or exotic creatures, but as fellow beings with whom we share a story, a planet, and a common destiny.

My artistic practice is a way to explore how images can expand perception, interrupt the logic of the instantaneous, and restore a deeper, more poetic, and more respectful relationship with the rhythms of the living.

In a time when we urgently need to rethink our relationship with nature, art has the power to imagine new ways of seeing and feeling.

My work aspires to be one of those ways: a window into invisible worlds, a visual metaphor of interdependence, an invitation to look beyond the human.