I remember the impact that the exhibition curated by Paul Virilio at the Fondation Cartier (Paris) had on me. As I walked through it, without knowing why, an unsettling magnetism led me to glimpse what I wanted to do. It was the first time that I felt that something so extremely light filled the space in a controlled chaos and at the same time every fraction of the installation filled my senses. It was an experience during its tour, that many years later I was not aware of how that exhibition offered me the important data that contemporary sculpture should have.

The interest in sculpture is born in the exploration of concepts and trials in direct contact between space and materials. During the research process, I have worked with the plane and later with the dematerialisation of the plane to turn them into fabrics composed of multiple lines. Works, together with red, are expressed with a lot of interest to discover how to draw in sculpture.

The attraction of new forms (without forms), led me to investigate the sculptures modelled by air. At this moment, I understand that air becomes the support of sculpture and the action of drawing in the air makes sense.

For years, my work has focused on understanding where sculpture acts on the new scenarios of space. I work BETWEEN-limits, BETWEEN-spaces, BETWEEN-forms.

I think that contemporary sculpture should demand certain parameters that link the work with the journey through space and the transformation it generates. Unlike in architecture, the triangle of concept, materialisation and space is structured at the moment when the journey begins.