My work is driven by process, as an ongoing, evolving act of reworking and layering that resists a definitive endpoint. Rooted in the traditions of Process Art and Abstract Expressionism, I embrace overload and intensity, favoring saturation that expresses energy and creates depth. Layers build, marks emerge and disappear, and surfaces shift over time. The act of reworking, concealing, and revealing creates a sense of history embedded within the piece, mirroring the way environments and experiences accumulate, transform, and erode.

Growing up in Venezuela, I was surrounded by the bold visual language of modernist abstraction. Jesus Rafael Soto, Carlos Cruz-Diez, Alejandro Otero, and Gego shaped my understanding of color, movement, space, and perception. Their investigations into structure and spatial dynamics continue to influence my approach. 

While living in Caracas I experienced firsthand the vibrancy and unpredictability of a city where energy, resilience, and improvisation shape daily life, deeply informing my approach to painting and installation. Resourcefulness and determination were essential values, and that same adaptive mindset translates into my work. Now living in New York, I am immersed in a constant dynamic intensity. I am influenced by the city’s abundance, diversity and its broad artistic network.

Much like these cities, my process aligns with the beauty of disorder, reflecting the dynamics of chaotic systems where apparent randomness gives way to underlying patterns, interconnections, and feedback loops. I am drawn to the layering of histories and to the interplay of chaos and structure—ideas that mirror both my personal experience and the dynamics of the environments I inhabit and create.

The work finds an internal rhythm within its complexity. Although explorations are driven sometimes by chance, repetition emerges within the layers as gestures echo and reappear. Marks collapse into new forms, and compositions find a sense of organization within their own disorder. This ongoing negotiation between unpredictability and structure allows the work to remain in a constant state of flux, embracing transformation rather than resolution.

Instead of originating from a fixed concept, my process unfolds intuitively, driven by the physicality of mark-making and the act of layering itself. There is an embrace of serendipities where each addition or subtraction alters the direction of the piece. Seemingly insignificant decisions can unexpectedly shift the trajectory of a painting. Much like the butterfly effect in chaos theory; each action, whether intentional or accidental, creates ripples that transform the piece in unpredictable ways. This openness to uncertainty allows the work to evolve through both intention and happenstance, reminiscent of the approaches of Pollock’s action painting.

Acknowledging my experience in fabrication and installation, as it continues to shape my artistic practice and my approach to materiality, I integrate remnants from job sites and found materials from urban environments into my work, as a way of embedding fragments of labor and place The layering of these elements reflects a belief that meaning is not preordained but emerges through process, interaction, and time. Each piece holds traces of its own making, not as a fixed image but as a continuous process of becoming. In my work meaning emerges in the act of doing. My work is driven by process, as an ongoing, evolving act of reworking and layering that resists a definitive endpoint. Rooted in the traditions of Process Art and Abstract Expressionism, I embrace overload and intensity, favoring saturation that expresses energy and creates depth. Layers build, marks emerge and disappear, and surfaces shift over time. The act of reworking, concealing, and revealing creates a sense of history embedded within the piece, mirroring the way environments and experiences accumulate, transform, and erode.

Growing up in Venezuela, I was surrounded by the bold visual language of modernist abstraction. Jesus Rafael Soto, Carlos Cruz-Diez, Alejandro Otero, and Gego shaped my understanding of color, movement, space, and perception. Their investigations into structure and spatial dynamics continue to influence my approach. 

While living in Caracas I experienced firsthand the vibrancy and unpredictability of a city where energy, resilience, and improvisation shape daily life, deeply informing my approach to painting and installation. Resourcefulness and determination were essential values, and that same adaptive mindset translates into my work. Now living in New York, I am immersed in a constant dynamic intensity. I am influenced by the city’s abundance, diversity and its broad artistic network.

Much like these cities, my process aligns with the beauty of disorder, reflecting the dynamics of chaotic systems where apparent randomness gives way to underlying patterns, interconnections, and feedback loops. I am drawn to the layering of histories and to the interplay of chaos and structure—ideas that mirror both my personal experience and the dynamics of the environments I inhabit and create.

The work finds an internal rhythm within its complexity. Although explorations are driven sometimes by chance, repetition emerges within the layers as gestures echo and reappear. Marks collapse into new forms, and compositions find a sense of organization within their own disorder. This ongoing negotiation between unpredictability and structure allows the work to remain in a constant state of flux, embracing transformation rather than resolution.

Instead of originating from a fixed concept, my process unfolds intuitively, driven by the physicality of mark-making and the act of layering itself. There is an embrace of serendipities where each addition or subtraction alters the direction of the piece. Seemingly insignificant decisions can unexpectedly shift the trajectory of a painting. Much like the butterfly effect in chaos theory; each action, whether intentional or accidental, creates ripples that transform the piece in unpredictable ways. This openness to uncertainty allows the work to evolve through both intention and happenstance, reminiscent of the approaches of Pollock’s action painting.

Acknowledging my experience in fabrication and installation, as it continues to shape my artistic practice and my approach to materiality, I integrate remnants from job sites and found materials from urban environments into my work, as a way of embedding fragments of labor and place The layering of these elements reflects a belief that meaning is not preordained but emerges through process, interaction, and time. Each piece holds traces of its own making, not as a fixed image but as a continuous process of becoming. In my work meaning emerges in the act of doing.