My practice is rooted in the exploration of space as a narrative and emotional structure — a place where body, image, and environment interact to generate meaning. I approach scenography not as a background, but as an active system: a constructed field in which perception can shift, and where atmosphere becomes a language.

I am particularly interested in the relationship between memory, imagination, and transformation. Drawing from fragments of the past, I reinterpret familiar forms and symbols through a contemporary lens, creating visual worlds suspended between reality and dream, where different temporalities coexist and overlap.

Childhood, play, and imagination are central to my process. I see them not as nostalgic references, but as operative tools — ways to construct and deconstruct reality, to access fluid and open-ended forms of thinking, and to generate images that resist fixed meanings. This approach defines both my personal research and my applied work. Rather than relying on a fixed aesthetic, I develop a method that adapts to each project, allowing me to move across different contexts and scales while maintaining a coherent visual and conceptual direction.

I work across authorial and commercial projects, translating ideas into visual environments where concept, function, and atmosphere coexist. My focus is on building spaces that are intentional and immersive, capable of engaging the viewer on both a visual and perceptual level.

Ultimately, I am interested in creating images and environments that do not simply represent something, but that can be inhabited — spaces where meaning is not given, but emerges through experience.