The drawings in Perívallo begin without a fixed image in mind. I work in graphite on gessoed panels and paper, allowing lines, surfaces and structures to accumulate until something begins to emerge. The forms often suggest machinery, anatomy, landscape or biological systems, but they are not intended to describe any one of those things literally. I am interested in the point where something feels recognizable without becoming fully identifiable.

The graphite is important because it can behave in several ways at once. It can be precise, soft, dense, reflective or nearly erased. On gesso, the surface texture remains visible and becomes part of the drawing, giving the work a physical quality that sits somewhere between drawing and painting. I try not to smooth that out. The irregularities help the images feel made rather than rendered.

Taken together, the drawings suggest fragments of a larger environment: structures, organisms, remnants and systems that appear to belong to the same place without explaining what that place is. Perívallo is my way of building that world slowly, one drawing at a time.