In recent years, I have been undertaking work focused on reclaiming and revalorizing abandoned materials in the urban environment, combining the study of their history and uses with a methodology articulated around diagrams and flowcharts synthesizing the data from my research. This approach, at the crossroads of investigation and experimentation, is expressed in my sculptural works and installations, where I reinterpret mineral materials such as concrete, stone, or brick, originating from the construction industry.

In this way, I explore how these materials—carriers of past narratives and products of industrial processes—can be transformed to generate new stories while questioning our usage of natural resources and the impact of globalization on our environment.

Since the 1980s, the phenomenon of hypernormalisation, has imposed an artificial reality where political and economic elites shape a simplified world. This illusion, even when acknowledged, keeps us in a state of passive acceptance and desensitization to social, ecological, and economic crises.
My artistic practice seeks to break from this passivity by reengaging us through storytelling and shared experiences. Bombarded with alarming information, we have learned to trivialize it. I aim to offer accessible tools for understanding—tools that help decode these flows of information and reveal their true stakes.

By tracing the decisions that have led to today’s disasters, I explore the concrete responsibilities behind the degradation of our environment and societies. Far from the abstract “Industry,” these crises stem from a tangled web of choices made by business leaders, politicians, and other actors driven by power or profit. Naming these agents and understanding their actions allows me to create work which informs, provokes, and becomes an invitation to dialogue.

By shedding light on these mechanisms, my pieces become tools for reclaiming reality. They prompt us to move beyond the imposed illusion, sparking critical awareness and renewed engagement.

In my view, a material can become a place in which to encounter and share. I aim only to be the agent who facilitates these human-human and human-other-than-human interactions. This sharing helps fight against “sterile contemporary standardization and develop DIY (Do It Yourself) as a mundane resistance that can empower multiple actors in a practice of material activism” (Jakob Sieder-Semlitsch & Lynn Hyun Kieffer, Hardware Stories).

It is important to include these fields within the context of the natural ecosystem with which they coexist, and to consider a framework that includes not only intra-human collaborations but also interspecies ones—moving beyond an extractive, anthropocentric mode of functioning.