Drawing has been with me since adolescence: a way of observing, understanding, and translating the living world. After years working as a designer and illustrator, I gradually shifted from responding to external briefs to exploring a more autonomous form of creation. What remains from that first career is a taste for precision, experimentation, and attentive observation; what has changed is the intention.

My artistic practice is rooted in two complementary forces: scientific observation and the imaginary. Through Chinese ink on paper, I explore the structures that shape the living — formations that seem to oscillate between vegetal, mineral, and animal. Each line grows from a patient, meditative gesture; each composition becomes a fragment of a possible biology.

I am drawn to the architectures that emerge slowly in nature: strata, networks, accumulations, branching systems. My work navigates the threshold between chaos and order, between micro and macro scales, seeking forms that carry the memory of growth, erosion, and transformation. It is a contemplative practice — a way to reveal what usually remains invisible, and to write a personal inventory of imaginary organisms born from the meeting of observation and inner vision.