I came to scenography through art history, museum work, and cultural heritage. My practice asks a question: how do cultures gather, classify, and preserve themselves in space?

I don't build from scratch. I work with what is already there - architecture, objects, traces of use - and construct conditions that reorganise them. I work through the logic of the cabinet of curiosities, the personal archive, and the artist's atelier as a total work.

Scenography becomes a method: arranging what a place already holds, and introducing only what resonates with it.

I work site-specifically - with abandoned interiors, historical buildings, urban quarters. I read what is already there, and construct a frame in which that memory can be activated.