My artistic practice is grounded in the field of environmental art, drawing on an aesthetic of repair and an ethic of care, where creation becomes an attentive gesture toward disturbed environments, residual materials, and marginalized forms of life. For over fifteen years, I have developed an interdisciplinary approach to sculpture, installation, and object-based art, at the crossroads of ecosophy, digital technologies, and situated narratives. My works are anchored in affected contexts—industrial wastelands, decommissioned mining sites, burned forests—which I consider active matrices, carriers of material memory, buried stories, and latent forces of regeneration.

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My approach explores narrativity as a mode of meaning-making that emerges through matter, form, and context. I do not approach narration as a linear construct, but as a weaving of sensitive relations between objects, territories, temporalities, and imaginaries. Each project becomes a space of resonance between the artistic gesture, the transformative dynamics of matter—organic, mineral, sonic, or digital—and the possible becomings of anthropogenic sites. Matter itself participates in the writing: it bears the traces of life, history, and alteration, but also of speculative narratives and latent futures.

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Through in situ practices, immersive installations, and generative processes, I conceive forms that I call “ephemeral architectures” or “intelligent ecosystems,” carrying both critical and sensitive potential. By engaging tools such as digital fabrication, 3D simulation, artificial intelligence, and biotechnologies, I develop biosourced, reactive, or hybrid materials, opening the way to experimental and collaborative processes. This transdisciplinary research-creation practice interweaves visual arts, natural sciences, engineering, and deep ecology within a logic of co-creation with both human and more-than-human environments—that is, with non-human living beings (animals, plants, fungi, microorganisms), but also with material entities (geological, atmospheric, or technological) with whom we share a world in the making.

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My approach is rooted in speculative thought and a poetics of the Symbiocene, where cohabitation between humans and more-than-human entities becomes both an ethical and aesthetic condition. It draws as much from environmental humanities as from emerging technologies, allowing for the emergence of hybrid, critical, and ecopoetic narratives. In this sense, my practice engages a constant dialogue between alteration and regeneration, disappearance and reinvention—inviting us to rethink our relationship to the living, to the materials we transform, and to the environments we inhabit and help bring into being.