A few years ago, I was really fed up with boring design projects and office computer work, so I decided to totally quit architecture. I moved to Indonesia for a year and spent a lot of time making artistic tiles and art prints. But slowly, unconsciously, I started thinking in 3D again. I started playing with plaster I was using to create relief mural works, then I tried concrete, then somehow I was doing these architectural sculptures. I guess my actual practice is still really art oriented, but I might be getting back doing "real" architecture.

I think, after 15 years in architecture, it has been infused in my DNA and it can't be taken out. Architecture can be abstract and poetic, but at some point, it always gets rational, structured and precise. You build a 1km long airport an you draw it with a precision to the millimeter. When you defend a project, you have to justify every line. I have tried improvising, drawing and sculpting freely, but with very poor results. I always have to go in a very long iteration process. So, "builder" would probably be a more suiting title than "sculptor", and I like to use the word "structures" instead of “sculptures".

I cast my pieces using modular molds, which are like puzzles as well that can be rearranged in different ways. So with the same set of mold parts, I can create different and unique pieces.

I would definitely say that, for the majority, they make more sense when put together. However, more and more, I really work so every individual piece can live by itself.

In the beginning of the thought process that brought me to make these sculptures, I was nostalgic of the time when instead of doing 3D computer renderings (which I did a lot!) we were taking pictures of physical models. So many of my pieces were designed to be used in sets for photo shoots, as a way to represent architectural spaces from a human perspective. Lighting and staging views are always in my mind.

I worked a bit with cast aluminum, plaster and ceramics. I like concrete mainly because of its plastic quality. It really catches light in a unique way and creates great shadow effects. I like its rawness and its imperfections. I like that it's a very modest and humble material. It is also very precise and has negligible shrinkage compared to molten metal and ceramics. This is very important when working with modular pieces in a very precise grid system. It is also durable and can be used outside.

I have been mostly doing what we call "varied series" or "varied editions". The pieces are unique prints or cast, but made from the same mold parts or printing matrix. I am starting to make more standard limited editions.

I'm really inspired by primitivism. In an esthetic way, as found in all native forms of art around the world, but also technically. I would like to think that anyone anywhere, with simple tools and local basic materials, could build my structures.

I spend a lot of time and thinking creating the mold parts. But I'm really more free and spontaneous when I assemble them.

Music composer Philip Glass, Le Corbusier, Louis Kahn, Peter Zumthor and the series of giant concrete monuments built in the former Yugoslavia countryside.