My practice moves between painting, sound, writing, and field-based research, which I see less as separate disciplines than as different ways of looking, listening, and spending time with the world. Much of my work begins with being somewhere (walking, traveling, getting a little lost, observing a landscape, or noticing something small that might otherwise escape attention) and I am interested in how places carry traces of memory, movement, human intervention, and natural transformation.

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Projects such as Collecting Silence, Reports on Ocean Currents, and Sounds after Caspar David Friedrich grew out of these encounters, using sound, writing, photography, found objects, and other forms of observation to explore how we experience and remember places. Painting is another way I approach these questions, often beginning with plants, gardens, horizons, shadows, or particular moments of light, and transforming these encounters through the slower time of painting.

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This way of working is also connected to my PhD research at UNESP, where I combined travel writing, photography, walking, and theoretical research to think about how landscapes are constructed through history, memory, and cultural imagination. Over time, I became less interested in landscape as an image and more interested in the experience of being within it, and in the way human and non-human histories constantly overlap.

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More recently, I have become interested in gardens and botanical histories, particularly in the movement of plants through migration, trade, colonialism, and cultivation. I am fascinated by the contradiction of the garden as a place where we try to organize nature according to our desires, while plants are constantly adapting, resisting, growing, disappearing, and finding their own ways of living. In many ways, I think I am trying to learn from them—to slow down, to pay attention, and to become more sensitive to the different rhythms through which the world changes.