The interplay of fire is my inspiration. It takes me back to the beginning of the universe, which I define as a primal experience in the everyday. I work with iron using an oxyacetylene torch. With the torch, I pierce the metal as if drawing, creating spaces. The form is simple, synthetic. The metal's appearance is ancient, yet the structure is contemporary. Iron reminds me of origins, the lifebl ...ood of the earth. Fish, iguanas, insects—these are the pretexts I use to play with the oppositions between full and empty, smooth and textured, strong and delicate, ornament and function. I seek balance between opposites. I explore different scales, contrasting ideas and materials. On the pieces, I write lines of poetry, values ??I don't want to forget; I inscribe symbols or forms that remind me of ancient cultures. I use these concepts in the execution of my sculpture and then transfer them, reinterpreted, to my metalwork pieces. The forms and textures created during the making of one piece are recreated and reappear in the next. I consider the uniqueness of sculpture and goldsmithing. The guiding concept is that jewelry is the most intimate form of sculpture; it is wearable sculpture. I want to appeal to the images of the unconscious, since we are fragments of many lives; I want to embrace time. I believe we are the result of evolution, and we cannot leave anything behind from our history. I want each piece to tell a story, and for them all to intertwine, using the material as a bridge. I work with iron, bronze, copper, and silver, choosing the metal according to my needs.