I believe that fashion constitutes the architectural intelligence of the human body.

In my work, I gravitate towards exploring concepts of the avant-garde, investigating how the human body can become a catalyst from which organic form can then emerge. I derive inspiration from my biological surroundings to inform the organic marks of fashion design and fine art alike. Living in such a bio-diverse geographical area as Miami, I find that my everyday encounters can be magnified and projected onto any piece of work. Whether it be jellyfish or strangler fig trees, I can mindfully adapt and admire the undulating, lively pulsations of my habitat. In a sense, I aim to explore art itself as a natural, living organism.

The work in this portfolio enables the following: how can the human body act as a catalyst from which organic form can then emerge? Ultimately, I aim to understand how the architecture of the body can influence its extended environment, and vice versa.

Through the practiced use of black, white, and red, I am providing a foundation from which form can inspire all else. Newborns can see these three hues better than all others, it is the color spectrum by which we first see the world. Thus, using black, white, and red, I am presenting a primal approach to color theory for form and mark-making to further all else. Process-wise, markers allow for an organic flow of shape, representing the ambiguous/experimental aspects of my pieces; color pencil is used for more grounded concepts of anatomy, such as faces. As the morphing within my investigation persists, I experiment with more non-conventional materials such as expanding foam, tissue paper, epoxy resin, etc, which represent the catalysis of the human body through texture.

To me, this body of work is a testament to my philosophy of design, constantly evaluating and observing my ecological and societal surroundings alike. Through this process, I aim to explore not only what we as humans can experience on the exterior but also process the inner workings of humanity that drive us to create and interact. This can be seen in the pieces “Coronary Exterior, Cardiac Exterior” and “Vertibrulskelitin sistim” where unseen human processes such as the ventricular and skeletal systems are magnified into works of art. Here, I am using artistic liberties associated with organic form to connect the human body’s outward engagement with the gears that are constantly shifting beneath our skin.

Furthermore, the curated pieces aim to be in conversation with each other as a mechanism to constantly evolve one’s understanding of the human body and its relation to form. Present in pieces like “Ghinjirsindefome” and “Amorphic Derivative”, concept and content are intertwined via a red band passing through. The band eventually breaks off, indicating a new understanding of these extended garments to be explored. Finally, revision is seen through applied integration of human androgyny (“Androgen 5”), as well as interactions within humanity (“Hilosenlacabeza”), which can be adapted to inspire form.

It is without a doubt that fashion is an underlying facet of this portfolio seeped into every piece. To further implement fashion design as the architecture of the body, I take inspiration from two main designers: Iris Van Herpen and Zaha Hadid. Although one is traditionally considered a fashion designer and the other an architect, both can deviate from traditional scapes of work and create worlds of their own. Just as architects use plans to influence form, I intend to use the human body itself as the canvas for limitless creation.

This series of work is bold, it is present, and it is ultimately a call for newfound ways of thinking in society. I aim for the viewer to be curious about each piece and re-evaluate their philosophies concerning form and the body. This way, my work enables humanity to interact with their surroundings in a way that alters and elevates life’s ecological continuum.