In the beginning, I drew faces

It was through caricature that I began to trace my path in drawing. More than capturing physical features, my true interest was always in revealing what pulses beneath the surface: hidden emotions, subtle intentions, silent archetypes. Each line was an effort to translate the invisible.

At events and gatherings, hundreds of people passed before my eyes — and, for a few moments, allowed themselves to truly be seen. Each face offered me not just its shape, but a fragment of its story.

I learned to listen with my eyes and feel with my hands. Over time, I understood that drawing was less about lines and more about presence. At its core, it was an art of gently unveiling what often chooses to remain hidden.

It was in that intimate space — between faces and gestures — that my commitment was born: to an art that refuses to settle for the surface, and instead seeks the essence.
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My crossing through televised images

Later on, my artistic path led me behind the scenes of one of the greatest stages of global communication: television. I worked on the production of programs for one of the world’s largest broadcasting networks, where I was able to expand my visual language within a completely new context.

In this dynamic and creative environment, I worked as a painter and sculptor. My contributions went beyond the creation of sets — I was responsible for scenic objects, for the details that fill the space, and for building visual atmospheres that, in one way or another, resonated with millions of viewers around the world. The frenetic rhythm of television met my pursuit of a deeper artistic expression, pushing me to explore new materials and techniques, and to collaborate intensely with a multidisciplinary team.

Each new project brought with it a continuous process of experimentation, where art was not only creation, but also adaptation to the moment. Every program carried its own unique atmosphere, and with it, the opportunity to bring a new visual world to life. It was a period of profound collaboration, where art met the urgency of television time, and the viewer became an extension of our work.
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Contours of a practice in flux.

After years dedicated to traditional art and scenic design for television, my artistic journey took a new direction—both in space and in language. I left Rio de Janeiro for Montreal, carrying with me not only tools and memories, but also a desire to discover new forms of expression. The change of country also marked a shift in inner tempo: a space for listening, reinvention, and artistic growth.

In this new territory, I found in digital media fertile ground to expand my visual language. Transitioning to digital tools did not mean abandoning what I already knew, but rather transposing to new surfaces a sensibility shaped over years of working with paint, wood, and clay. The three-dimensionality that had long been present in my sculptural practice began to take form in new environments—now virtual, interactive, and navigable.

This openness to digital media naturally led me into the production industry, where I worked in the field of 3D, exploring its technical and expressive potential. In parallel, I devoted myself to teaching, working as an instructor in the fields of video game and digital cinema production—spaces where I was able to share my experience and engage in dialogue with new generations of creators.

Alongside this practical path, I also developed a theoretical inquiry that culminated in a master’s thesis devoted to the presence of the spiritual in art. This reflective immersion allowed me to revisit my own practice with new eyes, understanding it as part of a search that moves between the visible and the invisible. Today, I remain driven by the desire to create, to share, and to listen—with art as a medium of passage, resonance, and transformation.