Throughout her career, the artist has explored various disciplines, but over time she has found in sculpture a privileged space to embrace experimentation, understood as a form of knowledge in itself. The diversity of materials and the way in which they interact with each other have revealing results, since the essential functioning of these things is manifested in their relationships.

Experience and learning are presented as deeply interconnected processes. In this sense, empiricism constitutes a fundamental pillar of her practice, as it offers tools to understand and articulate her own vision of the environment.

On the other hand, the ideas of lateral thinking formulated by Edward de Bono play a crucial role in her work. Rather than following rigid structures, she prioritizes flexible approaches that allow her to construct meanings from direct experience.

The project presented here consists of a practical investigation to achieve the controlled proliferation of vegetation on the surface of fired sculptures. This approach seeks to imitate, once again, the processes of nature.

To this end, a series of guidelines are proposed that will determine which materials, under which conditions, present properties that may be of interest. Finally, they will be kept under the ideal light and humidity conditions to favor the proliferation of organisms.

The final objective is to explore the limits between the natural and the constructed, juxtaposing the durability of fired ceramics with the fragility and temporality of the living organisms that inhabit them: a project with no guarantee of success in which uncertainty becomes inevitable.