I’m interested in the artificialization of everything – the landscape, our environment, our social relations, our beings – and soon the automation of our thoughts in a world where the boundary between simulation and reality is becoming increasingly blurred.

My process begins with digitizing various forms—plants, landscapes, and sculptures—using photogrammetry or 3D scanning techniques. I preserve only the polygonal mesh of these objects to reveal their digital structure. Then, I recompose this digital layout using 3D software.

The resulting wireframe drawing is transferred to paper or canvas using a “pen plotter” robot, bridging the gap between the digital and physical worlds.

Next, I reinterpret these tracings with paint, creating a cycle of real, virtual, and real again—a fusion of simulation, robotics, and painting.

There’s a dialogue between ultra-precise digital and robotic tracings and the human touch of hand and brush intervention. The accidents of painting blend with the precision of robotic tracing and algorithmic complexity, resulting in a unique fusion of elements.

Through this process, I confront automation by introducing elements of error and poetry that distinguish us from machines.