As a Peruvian artist, I understand artistic practice as a way of communicating with forms of knowledge that have been interrupted through colonisation, but never entirely erased. Growing up in the northern Andes of Peru shaped my understanding of the world through the principle of reciprocity, where landscapes are not passive settings but living presences that carry memory, knowledge, and relationships.

My migration from the Andes to Lima and later to London has led me to reflect on displacement as both a personal and collective condition. I am interested in how migration and its consequences, shaped by colonial and imperial histories, creates experiences of mourning—the loss of home, language, and cultural continuity. Rather than (re)presenting this loss, I explore how artistic practice can become a space for transformation, repair, and renewal.

Working with installation, performance, photography, video, poetry, and textiles, my works emerge from encounters and collisions rather than predetermined concepts. Walking, listening, and remaining attentive to space/time and to a place are essential to my process. I invite/allow landscape, architecture, and territory to shape the work before I begin to shape it. Deep listening, both literally and metaphorically, is both a methodology and an ethical position within my practice.

Performance, ritual, knitting, hair, stone, seeds, soil, water, and found-objects form an ongoing semiosis/symbolism through which I make relationships between bodies, landscapes, memories, and histories visible. Textiles, particularly knitting, become gestures of care, connection, and the transfer of memory across places.

I do not seek to represent landscapes; I enter into dialogue with them.
I walk before I make.
I listen before I speak.

Through these encounters, I understand art as a living practice of reciprocity—a way of carrying the weight of cultural memory, responding to place, and (re)imagining forms of belonging beyond borders.