The Art of Holding On

In Transit is about the constant movement of life, and about the different ways each of us crosses our own path.

Small human figures walk, climb, rest, hold on and watch from fragments of wood that keep their natural shapes, textures and imperfections. Some seem to advance with purpose; others wait, contemplate, or look for a way to carry on. Some climb alone; some need to lean on another.

Though they share a single space, each figure lives its own passage.

The work is a reflection on journeys that are not always linear. On the moments when we move easily, and those when we are simply trying to hold ourselves up. On arriving, stopping, beginning again, and understanding that each person moves through life at their own pace.

The wood, marked by time and kept in its organic state, becomes landscape, path and obstacle. Against it, the human figures look small and vulnerable — and, at the same time, persistent.

In Transit is a metaphor for life: we are all going somewhere, though not all of us arrive the same way, or at the same time.

Parallel Stories comes from noticing something as ordinary as it is astonishing: the number of lives unfolding around us at the very same moment.

Dozens of figures inhabit the work. They walk, wait, talk, meet, say goodbye. There are couples, families, children, people alone and small groups. Each seems headed somewhere, carrying a story the viewer can only begin to imagine.

They share the same space and yet live entirely different realities.

Horizontal lines organise that universe into levels — streets, floors, stages where the stories happen at once. Some figures cross paths; others walk in opposite directions. Many will probably never meet.

And that is exactly where the heart of the work appears: we are the protagonists of our own story and, at the same time, almost imperceptible characters in everyone else's.

Parallel Stories invites you to look at what usually goes unnoticed. To imagine who the other person is, where they come from, where they are going, what they are celebrating, hoping for, or quietly carrying.

Because behind every person we pass there is a life as complex and as meaningful as our own.

Geometry of the Encounter explores the way we gather, separate and find each other again inside the spaces we inhabit.

Small coloured figures are spread across geometric planes that cross, overlap and change direction. Some stay alone, others form pairs, many gather in small groups. From a distance they read as points of colour inside an abstract composition; up close, they become individuals, and we start to imagine the relationships between them.

The geometry sets limits and routes. It divides the space, creates intersections, and generates places where people inevitably end up coinciding.

And yet it is the figures who turn that structure into something human.

The work speaks of an apparent contradiction: we live our lives as individuals, taking our own paths, but much of our story is built precisely at the points where those paths cross someone else's.

Some encounters involve crowds; others happen between two people. Some seem sought out, others entirely by chance. And some figures remain alone, inhabiting their own space in the middle of a composition full of people.

Geometry of the Encounter turns space into a metaphor for our relationships: an invisible map of distances, coincidences and connections.

The Shared Path speaks of a universal experience: we move through life along our own route, but we never do it entirely alone.

On a piece of wood marked by its grain, its irregularities and the passing of time, a succession of human figures walks in the same direction. Some advance alone, others in pairs; some seem to be talking, keeping company, or simply coinciding for a stretch.

No two figures are alike — just as there are no two identical ways of walking through a life.

The wood becomes a common path. A territory everyone shares for an instant, though each arrives from a different story and continues afterwards toward their own destination.

The work focuses not only on the path, but on who appears while we walk it. Some people accompany us for years, others for just a few steps. Some walk beside us; others move ahead or fall behind. All of them, in some way, become part of our journey.

The great white space surrounding the scene sharpens that feeling. Against the vastness the figures look small, and the path takes on even more meaning: it is the precise place where our lives coincide.

The Shared Path is a reflection on the bonds we build as we move forward, and on the mark we leave — and others leave in us — along the way.

This work represents the inevitable passage between structure and freedom. At the top, wooden blocks are arranged with precision, reflecting order, rule and the safety of the established. As the eye moves down, that structure begins to come apart: the pieces detach, fall, separate and lose their original alignment.

Chaos appears here not as destruction but as transformation. Each cube that breaks free of the initial order opens space for movement, for the unpredictable, for the possibility of something new. The contrast between the rigid and the scattered invites the viewer to reflect on their own inner processes: what needs control, and what — once released — allows growth.

From Order to Chaos reminds us that it is often in the rupture that true authenticity is born.