​In my art works, I have explored the interspecies relationships in the profusion of historical displacements, providing insights from possible interlinkages between environmental history and other registers, like photography, video, and digital art.

In 2009, I started my trajectory in contemporary art by developing activities of writing narrative concepts and photo registers, cooperating with the development of new artists in Rio de Janeiro.

In 2018, I started studies in interactivity and creative programming (Processing, Arduino, Supercollider) at the Art and Technology Centre of the Visual Art School (EAV-Parque Lage), and in visual languages (photography and video art).

Then, I developed a series of digital art to explore visual interface inspired by the mining disasters occurred in 2015 (Amargalama), and 2019 (Artevale), at the Brazilian state of Minas Gerais. In the latest, by depicting such a huge geographic entity, I noticed an imaginary confluence between the waste of iron mining moving forward to the open contemporary art museum of Inhotim (Brumadinho, MG), which has financial support of the Vale mining company, and is located very close to the area affected by the disaster.

From 2009 to 2023, I worked in a partnership with the Brazilian artist, Marcos Duarte, developing art projects, and editing videos from his works, and installations.

From March 2022 to July 2023, I worked as his teaching assistant, in the Atelier 3D of the Visual Arts School (EAV-Parque Lage, Rio de Janeiro).  In this partnership, I developed some experiments on the poetic of entanglements in more than human realms, and the subtleness of the borderlines between humans and the 'others'.

​In my recent works, I have adopted the art video narrative to shed light on the serotherapy procedures which has been promoted since the late nineteenth century. My work aims to  case of the comfortable silence regarding the intensive blood extraction of horses to supply raw material for the pharmaceutical industry.

From this experimental and more nuanced worldview, I understand realities as intersubjective encounters which are generally erased from the historical record. In perceiving the notions of animality as another way of thinking about the history, I realize that narratives produced in conviviality with other animal species breaks with the anthropocentric argument that the domain of textual language is limited to interactions between humans (and certainly, not all humans). 

In this sense, I see art video narratives as a form of modulating tangible, and intangible realities in human and non-human experiences. It consists in reviewing the process of accumulation of knowledge which was compartmentalised into categories over the centuries.

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