My practice begins with an observation: classifying reality into fixed categories is a learned mechanism, not an accurate description of how things work. What we perceive as separate frequently shares the same structural logic. Mycelial networks and neurons are visually the same configuration. The death of one organism is the literal sustenance of another. An identity has no stable center, only layers that repeat and transform. This unity is not a metaphorical claim: it is verifiable in the forms themselves, and it is what my work constructs visually.
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This interest is grounded in my own process of recognition. I grew up in an environment where classifications were rigid and questioning them carried a real cost. I understand the recognition of that complexity as an act that weighs — revising a classification we believed essential to something can feel like a loss — and that simultaneously opens, because it reveals connections where a boundary previously existed. I do not seek to formulate absolute answers, but to hold that observation as the starting point of the work.
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This inquiry is in dialogue with Carl Jung's notion of the collective unconscious — symbols shared beyond individual experience — and with Josefa Tolrà's concept of fluidic force, which understands creation as a channel between the conscious and what exceeds it. I understand my own creative process in similar terms: as a mechanism of collection, where ideas belong to a broader network that the work allows me to organize and transmit.
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This axis unfolds across different scales throughout my work. In Tensión Interna I observe it in the impulses of the subject: the eye pattern emerged from the experience of feeling watched and judged, and later appeared identically on the wings of butterflies in my garden, confirming that what we perceive as our own and what we perceive as external frequently share the same structure. The hooded figures, formally developed as cocoons, are forms of transit that resist classification.
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In Patrones Primarios I observe it in matter: configurations present in mycelial networks reappear in neurons and in cosmic structures, revealing formal principles shared across systems that are assumed to be distinct.
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In Senderos del Vínculo I observe it in relationships: the bonds between people, generations, and species operate as networks of exchange where connection precedes separation.
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In Fractales Humanos I observe it in identity: figures that repeat and transform without a fixed center, where different times coexist on the same plane.