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horrenda interweaves artistic practice, narrative, and material research, exploring the boundary between artist and artwork and dissolving the distinction between the two. Territory is approached through surface, skin, and body as a border that both separates and mirrors. Working at the margins of normative aesthetics, horrenda challenges beauty, functionality, and harmony as the ultimate measures of value. Used in the feminine, the name becomes a vehicle for deviation, inhabiting sickness and the amorphous as a form of aesthetic and political resistance, seeking fertile ground in the swampy terrain of the horrendous.
Muñeca, 2026
Hand-carved arenisca
Made in Colombia from Bogotá’s piedra muñeca, this piece reflects the city’s visual language: organic minerals, bold architectural lines, and the circular rhythms of Rogelio Salmona’s buildings.
Virreina. Bogotá, Colombia
Enfermas, 2026
Red wild clay, inox steel, metal cord
Suspended from a stainless steel structure, red clay forms merge impressions of the affected part of the artist's body with those of the stone. The installation creates a hybrid of artist and artwork, tracing the physical toll of shaping and being shaped (the stone worked upon, the artist’s body bearing the cost of that intervention).
Virreina. Bogotá, Colombia
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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