Ever since she began making jewelry, she wanted to give pre-Columbian techniques a central place. Returning from Florence and looking toward her own roots was a conscious decision: to honor the work of indigenous goldsmiths, their procedures, and the materials with which they worked. That heritage remains present in what she does. This craft has allowed her to materialize the reflection and immediacy of her thoughts, and to take them to a therapeutic point. She seeks for her works to retain the artistic character from which they were conceived, and for each piece to be a vehicle for exploring with the greatest possible freedom and opening it up to whatever interpretations it may invite.
She works at a slow pace. Each piece asks for its own time: crafting it slowly, feeling the material, letting the technique remain visible, and allowing for the imperfection of the hand. That mark of the process is what distinguishes a thoughtful piece from mass production, and it is precisely what she is interested in preserving. She believes that design contributes significantly to the construction of the city, even when it continues to be traversed by consumer dynamics, and all the more so when we live surrounded by a multiplicity of objects that shape our daily lives.