I do not start with a completed concept or drawing but rather I begin with a feeling or sensation.
The natural materials help me to conceive a strong contrast and allow me to explore composition.
I am a collector, a designer and an architect who are in love with nature, sculpture, poetry and try to merge these three in a living thread, in a path towards your soul.
Collecting natural forms and incorporating them into my work reaffirms truths that begin with the self, but are at once universal. A certain intimacy is established by both acts – the collecting and the making.
I have been involved, with great pleasure, in ten editions of AUTOR International Contemporary Jewelry Fair (2011 -2023).
Some of the most important international events I have participated in are:
Germany (2017 – Munich Jewellery Week – Utopic Spaces – with Titi Berrio), Colombia (2015- DE LA MANO – Muestra De Joyeria Contemporanea – Galeria Naranjo&Velilla, Medellin), United States of America ("ROOTS" Earrings Collection – Design for Dorin Negrau, Mercedes-Benz New York Fashion Week – Fall 2015).”
“Infinite Trace” starts from the idea that nothing ever disappears completely. Every transformation leaves behind a presence: a tension, a memory, an energy that can no longer be located within an object, yet cannot be annulled either.
The trace thus becomes a space of passage between the finite and the infinite.
Burnt wood marks the first threshold. It is no longer a useful material, but neither is it absence. It is a body reduced to its essence, a form that bears the imprint of an irreversible transformation. In this state, it does not represent destruction, but the fixation of a trace.
Brass introduces the temporal dimension. It is the matter that does not stabilize, but continues to react. Oxidation, change of color, and sensitivity to touch transform each piece into an open process. The trace is not only the result of the past, but also of the present in continuous unfolding.
Blue, inspired by the intensity of ultramarine, does not function as a decorative pigment, but as an opening. It does not delimit, explain, or fix — rather, it indicates a space that escapes matter. It is the sign of a dimension in which the object is no longer sufficient.
Together, these elements do not construct an aesthetic, but reveal a state: burning, transformation, dissolution. Each piece becomes a point of tension between the finite and that which exceeds it — between what remains and what continues beyond form.
“Infinite Trace” is not about objects, but about persistence. About the idea that what disappears from matter continues to exist as presence.
The collection does not propose closed forms or definitive objects. It proposes fragments of continuity — structures in which the finite is only an apparent limit, and the trace becomes the visible form of the infinite.
