When I enter a work, that is, a world I am creating, as I walk through that world, the act of walking itself becomes my work, and that gives me a kind of structure. I do not focus on a specific medium, but on the idea, on the content, on research and experimentation. Through my work I also explore how we see, how we hear, how our biology, our history, our bodies influence our perception and our understanding of ourselves and the world. I am interested in the relationships we have with one another through immaterial aspects. I strive for my work to carry less narration and more of an emotional, sensorial landscape. The situations I create are in fact a kind of entity, whose time and space - the conditions in which that entity appears - are integral to its manifestation. In this sense, if I had to give a name or definition to what I do, for now I would say I am a situational artist: I create situations, sonic situations, sometimes sonic speculative fictions, unnamed fragments, environments, experiences. I move across fields, disciplines, and practices in search of my own language through which I communicate. Sometimes it takes me a long time to find the language, or rather, a dialect of a language I already know, which allows me to communicate with witnesses. Once I find the language/dialect through which I can communicate, I then use it in the same way I create situations - not so much objects (when I say “object,” I don’t mean only sculpture or painting; it can be something that has a certain compactness, an ephemeral form of existence, of living). I use a language that has multiple dialects; I don’t always speak in the same dialect, but I believe the root of the language is always the same - and that root is the one I discovered when I was 7 years old. I knew then that it was my language.