Statement
My research begins in the body and moves outward, through material, technology, theory, always returning to the question of what happens when a body encounters a system that captures, transforms, and redistributes its signals.
I work as an artist-researcher, which means the practice and the inquiry are the same thing. I do not illustrate theoretical positions through artworks, nor do I use artworks as data for theoretical analysis. The making is the research. What the material does, how salt corrodes a photograph, how a machine learning model transforms a heartbeat, how a body behaves at a shoreline, generates knowledge that conceptual analysis alone cannot produce.
My current research investigates sonic embodiment under AI mediation, specifically, what happens to a body when its most intimate biological signals become computational raw material. My master's research investigated the queer migrant body as a site of memory and transformation through material encounters with salt and water. Across both projects, the recurring questions are: what does the body produce when it meets a system? What is lost, what is transformed, and who is responsible for what remains?
Methodology
My methodology is iterative, experimental, and practice-led, with systematic variation as a core operating principle and retrospective reflection as the primary analytical mode.
I do not analyse while making. I immerse, in the material, the process, the situation, and return afterward to the accumulated evidence: photographs, recordings, files, objects, fragments of writing distributed across notebooks and voice notes and phone screens. The archive is my field notebook. Retrospective reflection on that material, in dialogue with theoretical frameworks, is where the research understanding forms.
Within that general orientation, my experimental design draws on training in industrial design: systematic variable control, comparative condition design, documented parameters, translated into affective and material research contexts. In Rituals at the Shoreline of Identity, photographs were submerged across multiple paper types, printing techniques, and container conditions (sealed versus open), each labeled and documented. The open containers theorised displacement through exposure; the sealed ones theorised preserved decay through containment. When the weather interrupted the evaporation process, I translated a darkroom technique, wrapping prints in absorbent paper, exposing them to direct heat and air, into the research situation. The improvisation was not a workaround. It was the practice talking back, producing a new threshold that the research had not planned but immediately recognised: work about salt and the Mediterranean, dried by Barcelona air, hanging above a Barcelona street, in the way things have always been dried there.
This capacity to translate between knowledge domains, industrial to artisanal, scientific to ritual, technical to affective, is a consistent feature of my practice. It produces research situations that are simultaneously rigorous and embodied; documented and speculative.
In my current PhD research, the methodology extends into three sequential experiments of increasing scale and complexity, each building on the findings of the previous one and moving from individual biometric data toward multi-participant installation and finally durational performance. The translation pipeline itself, ECG data moving through successive processing stages into machine learning synthesis, is both the subject of the research and its primary methodological instrument.
Research Interests
Sonic embodiment · AI mediation and biometric data · Queer and migrant bodies · Posthuman feminism · Artistic research methodology · Ritual as method · Digital aesthetics · Ethics of consent in AI systems · Practice-based epistemology · Material and affective archives
Theoretical Affiliations
Barad (agential realism and intra-action) · Haraway (situated knowledges, making-with) · Borgdorff (research through artistic practice) · LaBelle and Voegelin (sound studies and sonic agency) · Crawford and Zuboff (AI ethics and surveillance capitalism) · Anzaldúa and Neimanis (feminist border epistemology and hydrofeminism) · Hartman (critical fabulation) · Preciado (pharmacopolitics and bodily mediation)