Site-specific installation at the Hejduk Towers in the Cidade da Cultura de Galicia. Inspired by the history of collaboration between architects John Hejduk and Peter Eisenman, the work acts as a long-distance light channel that illuminates when two people are present at the same time.

Symbolically, the concept of "Magic Hour" represents a transition moment between opposites: night and day, senses and understanding; and a threshold for non-binary knowledge. This cohesive concept manifests in the five projects shown across sites.

This series explores the relationship between mathematical and analogue representation by superimposing two types of experimental drawings on the same surface. The first type is a chemical reaction that results from applying fire to steel, creating rainbow colors on the surface. The second type is a vector diagram, reappropriating the aesthetic of those made by mathematicians like Descartes when rainbows were still seen as miracles unexplained by science, UV printed with white ink.

A series of large-scale ephemeral drawings, up to 30 m long, traced with photoluminescent stones on remote places. Throughout the day, they absorb sunlight and at dusk, they glow for a few hours, revealing shapes or patterns that may resemble extraterrestrial traces.

Harmony is the digital asteroid that completes reality and becomes the third moon of Mars. It exists in a hundred different forms, self-generated by an artificial neural network. The computer is the telescope that reaches out to reveal a hundred possible worlds, even if its boundaries are limited to the virtual realm.

All light is from the past is a site-specific light sculpture made of fibre optics suspended on modular metal structures that adapts to the topography of Camden Art Centre's garden. The work reveals itself at dawn when it appears as a light stream that connects the ground to a secret knowledge of the virtual.

In an event horizon, events on one side of the space-time boundary cannot affect the observer on the other side. This installation takes advantage of the symmetry of a room in the abandoned building of Aragon Park to create a gateway to a visual paradox. Two opposite walls connect, like a tunnel with the same beginning and end.

Invoking a heartbeat attempts to reveal the energy generated by people coming together. The centre of the installation is a sound-sensitive core of light that, upon hearing nearby voices, lights up and flickers like a beating heart.

Refuge of Lights is an ephemeral installation that transforms the Xenius Library into a space of quiet recollection. From there, the ideas, resting in the bookshelves, illuminate the possibility of transfiguring dramas such as the pandemic or the war in Ukraine, at their peak when this work was conceived.

Oneiric Ecosystems delves into the origin of virtuality, understood as a human capacity to imagine and dream. The distorted places that appear in dreams are modelled and 3D printed. This technology-mediated process suggests the possibility of domesticating the immaterial, turning it into an object of controllable size.

The classical statues exhibited at El Rastro in Madrid seem like picturesque objects, but their spirit is brought back to life by transferring them to the digital plane. Immersed in a black background, the figures recover their lost solemnity. Virtuality, like a new stone, keeps the image of beauty alive and creates an illusion that masks reality.

Raccord Notes is a post-photographic mockumentary project. In each of the seven images of classical rooms, rescued from a discontinued book, anachronistic elements are introduced. The technical file documents these mismatches, which have to be erased in post-production. This creates a story that revolves around the obsession of preserving fiction.

Landscape paintings frame the experience of the sublime one feels in the presence of nature. This performance consists on unframing the painting by taking back the canvases to the physical place to which their image belongs.