In The Membrane I present the body as an image made for circulation: icon, sample, product.

It invites the gaze while exposing its terms—visibility, desire, consumption.

I construct studio sets with glossy fabrics, plastics, and artificial palettes, using seduction as a controlled mechanism. These surfaces attract and, at the same time, signal containment, repetition, and control—beauty as a film that wraps and holds.

Words such as SEALED, SHEDDING, SPECTRUM, LOOP, CHRYSALIS, ECLIPSE function as labels: they suggest protection or transformation, but also raise doubt—of the body as commodity, test, or replica.

The work starts from studio photographs, later manipulated and translated into paintings on polyethylene. Epoxy resin coats and “crystallizes” the image, fixing it in a glossy skin that intensifies reflections and distortions.

Here gloss is not ornament: it is a material language that reveals reproduction and the quiet violence of aesthetic display.

The Membrane moves from an intimate threshold—between protection and confinement, desire and control—to a broader question: what remains of the body when the image replaces it, and when that surface becomes the membrane that both separates and exposes us to the world?

In Masqueraders I explore identity as a social construction.

The project starts from a question that has followed me for a long time: how much of what we show is sincerity, and how much is performance learned from context? From this comes the motif of the mask and disguise, as a metaphor for the human condition within a society that constantly asks us to appear and to perform roles.

In the series I combine oil paint and epoxy resin on polyethylene sheets, building glossy, submerged surfaces with an almost three-dimensional depth. The resulting hyper-visibility evokes cinematic staging, a baroque aesthetic, and the excess of theatre and carnival. Masked, embellished figures become protagonists in a festive, spectacular imagery.

Curved supports intensify a distorted, “filtered” contemporary view, as if everything were happening on a display. The project argues that appearance and truth are not opposites: simulation is part of the real.

In this sense, the mask does not hide; it reveals how identity today is formed under the collective gaze, within a regime of continuous exposure.