This project begins with a seemingly simple question: who was Manolita Daza i Castellà? The journey to find the answer has been one of constant discovery, filled with small stories that, in the end, are what shape a life. Through conversations, family memories, photographs, and silences, this work reconstructs the memory of a woman and, at the same time, of a particular era.

The thread running through this story is stockings: the object around which much of her professional life revolved, having worked with them for over thirty years. Stockings thus become a metaphor for the passage of time, for fragility, but also for persistence.

The book tells her story in the first person, weaving it together with historical events that shaped her throughout the 20th century. This project is a way of not forgetting—of pulling the threads that connect us to previous generations and making them visible. Because even the humblest lives are full of stories worth telling.

The ABC of Absurdity is a visual encyclopedia that collects the most improbable inventions ever registered at a patent office. A tribute to unfiltered creativity, to the strangest logic, and to the human spirit of inventing for the sake of inventing.

Divided into six categories —Animal Kingdom, Fashion Oddities, Domestic Wonders, Health Care, Rolling Innovations, and Tech & Nonsense— this book presents 82 real patents through technical sheets, illustrations based on the original drawings, and ironic commentary that reveals the fine line between brilliance and absurdity.

With an introduction on the history and functioning of the patent system and a final timeline that places each invention in its historical context, The ABC of Absurdity is not just a catalog of useless objects: it’s a critical —and humorous— look at progress, innovation, and the obsession with leaving a mark on the world, even if it means patenting a pair of trousers with three legs.

This project is a motion system developed for FOAM, the contemporary photography museum in Amsterdam. It is conceived as a visual metaphor of its commitment to the diversity of gazes and perspectives. Starting from the distortion of the points of a basic square —an essential and equitable shape— emerges a constantly shifting visual system, where all perspectives are seen and acknowledged.

The transformation of the square reflects how FOAM embraces plurality: each distortion reveals a new gaze, a new voice, a new story. The system is built on respect for difference and subjectivity.

Redesign of the Mexican classic Pedro Páramo by Juan Rulfo. This novel merges the world of the living and the dead. It has no chapters, but rather narrative fragments of varying lengths — from seven lines to several pages — which, in the original manuscript, were separated by blank lines.

The entire design is based on the author's creative process: "He wrote by hand, with a Sheaffer fountain pen and green ink. He would leave paragraphs unfinished so he could leave a trace or find the thread of his thoughts the next day." Thus, the color green became the central element, turning the entire book green.

Silencios Robados is a unique book made from fabrics, where each page tells the story of children who are victims of child labor in the fashion industry. Every page, every texture, and every image conveys the harshness of this reality, inviting the reader to reflect and engage in the fight against this violation of human rights.

Based on the iconic responsive “W” from the Whitney Museum of American Art, a 1:1 ratio template has been designed specifically for social media platforms. This adaptation takes the original W’s flexibility and modular nature as its starting point to explore all of its graphic possibilities. The proposal aims to play with the geometric construction of the letter and the many variations it can adopt depending on the context and content, while maintaining visual coherence and adapting fluidly to the available space. In this way, the W becomes a living, dynamic element, capable of engaging with digital formats and reinforcing the visual identity of the project.

Graphic design for an exhibition by contemporary artist Haris Epaminonda. She uses existing materials and combines them with structures and supports she designs herself. Her installations evoke visual puzzles that suggest a multitude of meanings. Many of her exhibitions surprise with their fragmentary layout. Everything lies at the edges, hidden in the corners… until, as one moves forward, the space is redefined and reshaped.

With this context in mind, the project is based on the artist’s way of concealing elements — playing with the vectorized shapes she uses in the exhibition and, above all, with white space.