• Making and Materiality
  • I make soft-bodied sculptures from fabric, sewing, vinyl and polyester wadding to question masculinity, identity and the human/posthuman boundary. Stitches, seams and stuffing become a critical language: care, labor and prosthesis. I treat making as knowledge—material investigation over finish—folding ancestral techniques into future-facing forms.
  • My practice unfolds like a laboratory. On these shelves are fragments, prototypes, and half-formed bodies — evidence of a process...

    My practice unfolds like a laboratory. On these shelves are fragments, prototypes, and half-formed bodies — evidence of a process that treats the studio as a site of testing and discovery. I work with modern, industrial materials such as polyester wadding, vinyl, plastics, and synthetics, but often return to old craft techniques: sewing, stitching, papier-mâché, binding, and hand-built structures.

     

    This dialogue between contemporary materials and ancestral methods is central to my work. Sewing becomes a sculptural language, a way of suturing new forms into being. Papier-mâché, associated with childhood or folk craft, is pushed into surreal, bodily structures. Industrial padding becomes muscle and flesh.

     

    Like a scientist in a lab, I run experiments in form and material — combining the precise with the absurd, the fragile with the monumental. Each piece on this shelf is both an artwork and a question: what else can these materials do, and what futures can they help us imagine?

  • PORTFOLIO

    (please click on each image for details)

  •  

     

    Physical to Virtual - I AM AI
    Tree of Eyes (working title), 2025-ongoing

     

    This work begins with a handmade maquette built from papier-mâché, tape, and kitchen foil. The fragility of these materials - provisional, improvised, craft-based - forms the starting point for a process of translation. Using AI, I reimagine the sculpture through bodily adjectives such as "moist," "wet," and "damp," generating speculative designs that push the object into surreal, fleshy futures.

     

    The final outcome will be a physical fountain, 3D-printed from the AI's reinterpretations, merging traditional craft with emergent technologies. Connected to the internet via an API, the fountain's water flow responds to trending words on X (Twitter). As terms like "moist" or "wet" proliferate online, the fountain gushes or trickles accordingly - bodily fluids controlled by the network.

     

    Within the frame of Delfina's Making and Materiality, this project engages with:

     

    • Material experimentation: from papier-mâché and foil (ancestral, improvised) to 3D printing (digital, futuristic).

    • Craft as knowledge: the initial handmade prototype is not an end but a research method, a way of thinking materially.

    • Political/technological realities: the work ties intimate bodily metaphors to the scale of global data flows, highlighting how language, sexuality, and materiality intersect.

    • Collaboration with systems: AI and APIs become co-makers, extending the studio into the digital realm while retaining the haptic origins of papier-mâché.

     

    This project embodies Delfina's ethos: making as a form of knowledge, dissolving binaries between craft and technology, body and object, the tactile and the virtual.

  • Tree of Eyes, 2025 Working Model Masking tape, kitchen foil and armature wire. Physical model. (Larger version of this image opens in a popup).
    Tree of Eyes, 2025 AI Virtual model recreated by AI. (Larger version of this image opens in a popup).
    Tree of Eyes, 2025 AI Virtual model recreated by AI. (Larger version of this image opens in a popup).

    Tree of Eyes, 2025
    Working Model
    Masking tape, kitchen foil and armature wire. 

    Physical model.