I became an artist through a deep fascination with materials and transformation. Growing up in Havana, I was always aware of the fragility of things, the architecture, memory, nature, and even the body itself. I found in art a way to process those tensions and to reflect on the social and environmental realities surrounding me. Paper became my primary language because it is both delicate and resilient. By tearing, cutting, wrinkling, and rebuilding it, I can create surfaces that hold traces of time, erosion, and reconstruction. For me, the physical act of manipulating paper is also conceptual; it mirrors the way histories and identities are constantly shaped, fractured, and remade.

The works from my series Daydreams (2023) emerged from my ongoing relationship with the sea and the growing climate crisis affecting the waters surrounding Cuba. Living on an island means understanding the ocean not simply as landscape, but as a force that shapes everyday life, memory, and survival. In these works, I build layered monochromatic compositions in shades of blue that evoke the movement and depth of water, while also suggesting instability and turbulence. The repeated layering of paper creates sediment-like surfaces, as if each work contains accumulated histories and emotional traces. For me, the ocean is both a symbol of connection and a reminder of impermanence. It reflects the fragile relationship between humanity and nature, while inviting viewers into a space of contemplation and awareness. At the center of several compositions, gold leaf also appears as a fragile remnant, something precious that survives despite destruction and environmental decay.