Sculpture as dialogue
MSculpture, for me, begins with listening. I listen to the wood, the clay, the stoneware — to what they already carry before I touch them. My task is not to impose a form, but to find the one that was already waiting.
I work with wood, ceramic, stoneware, pigments, gold leaf, and copper. Found objects enter my work alongside constructed forms — assemblages in which each material speaks its own language, and together they say something none could say alone.
Running through my sculptures is a personal calligraphy: reliefs, symbols, and textures that do not translate into words but can be felt. This visual language draws on myth, nature, and the archetypal — a syncretic grammar developed over more than twenty years, in studios in Caracas, Tenerife, and Berlin.
Each sculpture is unique. Each one is a small world.
Blue Line Totem
sculpture from the totem series
mixed media on wood
size: 33 x 19 x 4 cm (13 x 7 ½ x 1 ½ in.)
with metal base.
The Totem does not speak. It stands — and in standing, it remembers for us.
A blue line rises through dark wood: not a mark, but a signal, older than language.
At its center, one eye. Gold. Watching nothing. Watching everything.
Circunvolución II
double-sided sculpture
mixed media: wood with gold leaf
year: 2006
dimensions: 55 x 46 x 2.5 cm (21.7 x 18.1 x 1 in)
height with metal base: 60 cm (23.6 in)
weight: approx. 5 kg (11 lbs)
Every surface has another side — and neither one is the truth,
only a version of it. On one face: signs, figures, a calligraphy that
curves like memory.
On the other: gold, fire, the slow revolution of something that has always
been turning. Circunvolución — not a rotation, but an unfolding.
Totem sculpture – double-sided
mixed media: wood, stoneware, gold leaf
25.5 x 17.2 x 6.5 cm (10 x 6.8 x 2.6 in)
wood size: 22.3 x 4 x 1 cm (8.8 x 1.6 x 0.4 in)
metal base size: 17 x 6.5 cm (6.7 x 2.6 in)
2007
Above: gold and fire — a script that was never meant to be read, only felt.
Below: stoneware, relief, a symbol that rises from the clay like something that was always there, waiting to be uncovered.
This totem does not mark a place. It is a place.
Barajas - Decks of Cards
mixed media on wood
painting size: 21 x 15 cm (8.3 x 5.9 in)
total size (including wooden frame): 36.5 x 31 cm (14.4 x 12.2 in)
2009
A deck is never just cards — it is a system of chance dressed up as order.
Blue figure, red field, yellow sky: the colors don't negotiate, they insist, each one holding its ground.
I shuffled until something appeared that was not in the deck to begin with.
Silencios que sobreviven - Silences that Endure
set of 2 wall sculptures
mixed media: wood, stoneware, copper
diameter: 51 x 2 cm (approx. 20 x 0.8 in)
Some silences do not fade — they settle, layer by layer, into the material itself.
These two circles hold what cannot be said: fragments, signs, a world compressed into a center that will not give itself away.
Silencios que sobreviven. The silences that outlast everything else.
Péndulo – Pendulum
sculpture on metal base
mixed media: wood, stoneware, and gold leaf
60 x 17 x 5 cm (approx. 23.6 x 6.7 x 2 in)
A pendulum does not rest — it passes through the same point again and again, and each time it carries something different.
Dark wood, ancient grain, a point that reaches toward something it will never touch.
At its center: gold, stoneware, a sign that has been swinging since before it was made.
Sculpture from the Totem series II
mixed media on wood with gold leaf, metal based,
dimensions: 19.5 x 32.5 x 4.5 cm (approx. 7.7 x 12.8 x 1.8 in)
This totem does not stand in silence — it speaks in red and blue, in gold and grain.
Lines cross the wood like old arguments that were never resolved, only accepted.
The gold does not decorate. It marks the place where something was protected.
Gazeta Lunar - Lunar Gazette
double-sided sculpture
mixed media on wood with gold leaf, on metal base
dimensions: 13 x 14 cm (approx. 5.1 x 5.5 in) with metal base
The moon has always sent messages — we just never learned to read them.
One side receives. The other translates.
What arrives is not news, but something older: a sign, a circle, a fragment that was already there before the paper existed.
Set of two relief boxes
mixed media: stoneware on acrylic in natural wooden frames
Some things are too old to hang on a wall — they need to be held, contained, protected.
The wood came first — carried by the Atlantic, shaped by salt and time on the shores of Tenerife.
Inside: stoneware relief on acrylic, a sign compressed into clay.
What the sea left behind now holds what the hands made.
Not a frame. A found sanctuary.
