My printmaking practice explores various constraints related to the discipline. This leads to exciting divergences, resulting in a hybrid practice that also borrows from the field of drawing. In my work, I apply a stamping technique, using a single motif as the basic element of an image. Monochromatic figures and surfaces are assembled into small drawings that resemble woven fabrics. This principle of repetition enables me to alter the nature of the initial gesture in order to produce a surface replete with enigmatic bits of fabric and primitive-looking objects. By using a method that gets away from the impulsive and energetic gesture, I simulate a quietness typically associated with slow and repetitive processes.

Through structures initially set up as geometric figures, the shapes slowly transform into a more flexible material, in which gradations and scratches gradually emerge.

The analogy to textiles suggests the mark of a coveted respite, a thirst for gentleness that stems from a continual questioning due to the erosion of our convictions.