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horrenda interweaves artistic practice, narrative, and material research. It positions itself on the margins of normative aesthetics, challenging the dominant notion of beauty, functionality, or harmony as the final and sole goal of things. The term is used in the feminine, presented as a vehicle of deviation, inhabiting discomfort in order to resist, both aesthetically and politically, the pantheon of the beautiful. It strives to trouble de-hierarchize beauty, and persues the fertile soil lying in the swampy horrendous terrain.
Caracol, 2025
Hand-carved alabaster
The work considers the shell as an architecture of intimacy. A suspended spiral.
Within it dwells the echo of a body: what is protected, what folds inward, what continues to grow beneath the skin of the stone. A mineral refuge where the body has time to dissolve.
Barcelona, Spain
Unfired piece, 2025
Clay and sand.
35x75cm approximately
El Poder, 2025
Steel and cement throne
The work reflects on the occupation of space and the symbolism of power in both the Argentine and global context. It speculates on the dynamics and consequences of living under monopolized power, concentrated in one or a few individuals, most often aligned with a masculine-coded dominance.
Collaboration with Horrenda, Fragmentable, rosarosarosa and Nacho Novillo.
Buenos Aires, Argentina
Horrenda series #1
Volcanic and red clay from Fuerteventura
0.5 and 3 chamota
Pieces: 40–80 x 30–50 cm
Barcelona, Spain
Termita, 2025
Volcanic black clay from Fuerteventura
Termites build with tunnels, chambers, and ventilation systems. The colony functions as a superorganism where each termite is like a cell. Termita, then, can be understood as an extension of the colony’s body, almost like a communal exoskeleton.
72x35cm approximately.
Barcelona, Spain
Quimera, 2025
Volcanic black clay from Fuerteventura
The piece combines the morphology of a spider and a swordfish.
Approximately 70x40 cm.
Barcelona, Spain
Huésped, 2025
Volcanic black clay from Fuerteventura and high-fire glazes
Third piece in the series, inspired by the Ophiocordyceps fungus, which infects antes and takes control of their bodies until leading them to death. It explores the boundary between the living and the possessed, between free will and complete surrender.
Approximately 50x30 cm.
Barcelona, Spain
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