I develop a practice of drawing and printmaking using extremely fine papers, particularly Japanese and Chinese papers, which transform the support into a skin-like surface: reactive, porous, and sensitive to the slightest intervention.
Under the effect of water, ink, pressure, or engraving tools, the paper bends, creases, and bears marks like a living organism. It no longer functions as a neutral ground, but as an active medium that reacts, absorbs, and retains the traces of the process.
Within this approach, drawing and printmaking are conceived as two complementary modes of transforming the support, with paper understood as an epidermal surface.
In this way, the research shifts the traditional boundaries of these practices by integrating the fragility, responsiveness, and alteration of the support as constitutive elements of the work, rather than as mere secondary effects.