My practice investigates identity as a contradictory process, constructed through the friction between body, space, and norm. I work from the premise that identity is not a pre-existing essence, but a movement that emerges when the body enters into relation with the environment, with the other's gaze, and with the cultural dispositifs that traverse it. By constructing wearable sculptures that I can fully inhabit, I create internal spaces that function simultaneously as confinement and expansion. These body garments produce experiences of enclosure and anguish. Yet they also operate as fields of inner understanding: borders where I can recognize the tension between the forces that constrain and expand who I am.

I am interested in troubling the question of origin: can identity constitute itself from within, or does it inevitably depend on external recognition to exist? By inhabiting these devices, I place my body in a state of errancy — neither fully autonomous nor fully determined, investigating identity as mutable, relational, and perpetually in process. In this context, performance does not seek to reveal a “true” self, but to render visible the conflict between interiority and exteriority, between desire and norm, between agency and conditioning. My practice situates itself within this interval, where identity does not stabilize, but shifts.

The tools from Gender Theory provide me with an understanding of how subjectivity is deeply regulated within patriarchal society that produce hierarchies of value and erasure. Identities that escape normative frameworks are not only marginalized but often deprived of the symbolic conditions necessary to narrate themselves legitimately. In this terrain, the imagination of self-narratives becomes a contested field in which creativity, the body, and performance operate as mechanisms to resist erasure and generate alternative forms of existence and legibility. In my practice, fluidity does not refer to a stable identity that transforms, but to a mode of circulation — a condition in which body and thought move across ideas, affects, and narratives without settling into fixed definitions.

The camera emerges as a possible extension or double of myself. It does not merely document; it participates in the production of the event. Documentation, in this sense, ceases to be record and becomes potential — a second layer of presence that further complicates the boundaries between body, image, and identity. What appears as failure from the system’s perspective may be the very site of possibility from within the body. The body does not fail — the norm fails to fully contain it.