I imagine that sound inhabits a place where we forget the language of words and we begin to communicate in a raw state.

My cello, is a being conditioned by its own fiction. I transform it into a contradiction, when I decide to conjugate it both in its known and wild state. When a sound is shattered, it constitutes a rejection of the instrument's self, its own being in denial to its conventional nature. Its denatured naturalness becomes its questioned metaphysical essence, taken to the extreme.

I investigate all the possibilities of friction, as if I were working the fibers molecularly. I think the cello as a canvas, a visual field, where not only sounds are articulated but also drawings, choreographies of movements.

My concern here is to sweep away the ideas that remain fixed in memory, which have already configured a system of meanings. When those ideas become uneasy ground I renounce them in other forms, to find myself in the original exercise.