My practice unfolds through painting, sound, writing, and field-based research, approaching these mediums not as separate disciplines but as interconnected ways of engaging with landscape and ecological experience. Through walking, travel, attentive observation, and site-specific investigations, I explore how environments carry traces of time, memory, displacement, and human intervention.

Projects such as Collecting Silences, Reports on Ocean Currents, and Sounds after Caspar David Friedrich emerge from direct encounters with specific territories and investigate forms of circulation, listening, and transformation operating across landscapes. Whether through sound recordings, found objects, texts, or spatial interventions, these works reflect on the fragile relationships between natural systems and contemporary forms of existence. In parallel, painting functions as another form of observation and temporal attention. My paintings often develop from encounters with plants, gardens, horizons, and fragments of environments, translating experiences of proximity, atmosphere, and seasonal change into slow visual studies.

This approach is closely connected to my PhD research in the Art Institute at São Paulo State University (UNESP), where I developed a hybrid methodology combining travel writing, photography, walking, and theoretical reflection. The research examined how landscapes and monuments (from prehistoric sites to Romantic representations of nature), shape cultural imagination and artistic production. Across different formats, my work investigates landscape as a living and contested field where ecology, memory, movement, and perception continuously intersect.

More recently, my research has turned toward gardens and botanical histories, approaching plants as witnesses of migration, colonial circulation, coexistence, and ecological transformation.