under the (river)bed
Moving between disciplines and formats, my practice understands language, materials, and histories/stories from a spatial perspective. I’m interested in where concepts come from, how they migrate, adapt, and land in different realities and bodies. I co-create context-specific spaces and processes that aim to be ethical, political, poetic, and aesthetic—ways to think, imagine, and make together.
I see the world through my experiences and affective relationships in Nicaragua, the UK, and the city of Barcelona. My work has developed through collaboration and support roles with Enric Miralles Benedetta Tagliabue EMBT Architects / Fundació Enric Miralles, dpr-barcelona, RIBA, Alfonso Borragán, Arxiu Muntadas, and Gloria Moure, where I contributed across editorial, curatorial, and production processes.
In parallel to my professional practice, my current work centres on soil, clay, and deep-time thinking as situated tools for learning with the land. With Eloise Maltby Maland, I co-organise ‘summer pools’, a yearly site-based programme in Perthshire, Scotland. With Andi Icaza, I collaborate on ‘vessels for sowing grief’, a ceramic research project and workshop series developed through La Escocesa’s 2024–25 BarcelonaCrea artist grant. With Caterina Miralles and Eloise Maltby Maland, I co-developed ‘entre árboles urbanos / fiesta del árbol’, a project selected for the MODEL+ Award at Model. Festival of Architectures de Barcelona, with its accompanying publication presented at ArtsLibris MACBA 2024. I was an invited artist for HalloFestspiele 2025, where I facilitated the workshop Clay Bodies, Displaced Soils at PARKS in Hamburg.
In addition, my work has been shared at Tecla Sala and Zumzeig in Catalonia, Continental Drift in Arad, and in the RIBA-published Queer Spaces: An Atlas of LGBTQIA+ Places and Stories in London, presented at SAHGB (Society of Architectural Historians of Great Britain) and The Coast is Queer, University of Sussex.
under the (river)bed is a series of seasonal workshops at twilight. The project plays with domestic and ecological metaphors: the bed as a place of vulnerability, rest, intimacy, but where forgotten things, monsters, and fears lie. It proposes to inhabit this under-layer, not to expose or resolve it, but to stay inside its complexity. The riverbed becomes a literal and metaphorical underworld: a sedimented terrain of extraction, toxicity, labour, and potential for regeneration; a place where we soften into dreams, where conscious and unconscious intermingle and realities overlap; where the world can be dreamt otherwise.
The workshops unfold not by calendar logics, but by broader temporalities of the river’s natural recurrences. We gather at the low tides as a periodic cohabitation ritual with the cycles of exposure and retreat. These coincide with what East Anglians call the dark hour: “The interval between the time of sufficient light to work or read by and the lighting of candles; a time of social domestic chat.” This cadence resists the urgency of production and embraces seasonal attention.
The gatherings invite participants to dwell within four conceptual-geological layers of the riverbed, framing a way of listening, sensing, or working - not in linear descent, but as cycles of return:
- Surface sediments: movement, flood, what’s barely settled
With hydrologists, performance artists, urban walkers
- Contaminated zones: toxicities and unseen residues
With soil testers, fungal ecologists, public health researchers
- Clay and substrate: weight, compactness and accumulation
With ceramicists, infrastructure mappers, historians
- Bedrock: what cannot be reached, intuited in ancestral and speculative knowledges
With storytellers, dreamers, poets, and river listeners
Each session leaves material traces like microbial prints, pigment tests, soil archives, transcribed dreams. These will be compiled into a record of the riverbed’s underbelly.