Visual artist and researcher of the periphery with the pronoun she, with a positioning in my work towards the constant reflection of the supports and photographic processes in the contemporary world I inhabit.
In 2012, I graduated as a Director of Photography from Nueva Escuela and, years later, I completed the Diploma in Documentary Photographic Research and Conservation at the Faculty of Philosophy and Letters of the University of Buenos Aires. In 2016, I received a grant from Buenos Aires Photo and the Malba to conduct a seminar on Anthropology, Aesthetics, and Subjectivity in Brazilian Culture, focusing on the work of Claudia Andujar.
Since 2009, I have trained with artists Rosana Schoijett, Bruno Dubner, Karina Peisejovich, Florencia Fernandez Frank, Flavia Da Rin, Nicanor Araoz and institutions MALBA, Uberbau House, Borges Cultural Center.
Since 2009, I have also participated as an artist in exhibitions at institutions, galleries, and art fairs in Buenos Aires, such as the Heraldo Conti Cultural Center for Memory, Panal 361, Cecilia Caballero, Ruth Benzacar, Isidoro Espacio de Arte, Teatro Auditorium in Mar del Plata, Casa Nacional del Bicentenario, and Pinta BAPhoto, among others. I have also been part of exhibitions in other countries, including Ecuador (Galería No Lugar) and Brazil (Fábrica Bhering, Atelier Branco, and Uberbau House).
I entered the Diploma in Experimental Photography eager to see how others work: their processes, their tests, their timelines. The most important thing I took away was understanding that the project's concept must truly engage with the chosen technique , not operate on separate tracks. I also learned that the process isn't "what's left behind," but rather an integral part of the work: what happens while I'm creating, experimenting, making mistakes, and trying again. From then on, I began to give more space to showing that behind-the-scenes aspect, and not just the final result.
Highlight
Projects
My practice is situated within expanded photography as a material testing ground: chemical-photosensitive, archival, and performative. I work with chemigrams, lumen prints, solarization, and interventions on photographic supports , among other processes, often from hybrid analog-digital flows, to erode indexicality and shift the image from mere representation to reading surfaces where the process remains visible as a trace.
I work with pre-existing images and historical archives, not to illustrate them but to reactivate their conditions of production and power. My pieces attempt an archaeology of the medium : they bring to the surface technical, political, and affective layers through controlled degradation, error, time, and accident.
I use photography as a vulnerable and symptomatic medium: a plane of friction where contemporary anxieties and bodily memories are inscribed without pathologizing them, but rather by questioning the regimes of the gaze that defined them. In the gallery, the work is articulated as constellations of altered prints, plots, and wall installations that emphasize process, scale, and material temporality. Thus, each work operates as a critical essay: it does not add images to the world, but rather exposes the conditions that make them plausible.
One of my most recent projects is Suspended Bodies , a series of lumen prints derived from the Endless Pause project (2024). It originated from my participation in the study group If you want to go far, go in a group , at Uberbau House (Brazil), where I explored the relationship between women's mental health and how photography has historically been used to uphold patriarchal discourses.