I was born in a small hamlet of 500 inhabitants in the 2000s, where television and video games were both a window to the world and a symbol of emancipation and empowerment. That world has almost disappeared for me now, but the experience shaped my artistic practice and is the starting point for my series Shield Zone—a term referring to a space-time in a game where the player is protected from external attacks, allowing them to recharge their weapons, mark their position on the map, and so on. Similarly, these digital spaces exist as in-between places where one can shape an avatar and identify with a superheroine, a soldier, or a high-level athlete. These experiences were essential for the little girl I was, growing up in a rural environment.
My work revolves around two key concepts: the hybridization of memory—how spaces we’ve inhabited in video games, films, or animated series, once filtered through memory, acquire the same status as intimate memories—and how this colonization of our imagination transforms our inner world and becomes a creator of shared mythology. The «digital,» with its own semantics, goes beyond being a mere medium to become an anchor point for new kinds of universal hybrid languages (e.g., memes).
It’s this coexistence between memories, we tend to prioritize as “tangible”—those stemming from intimate, blurry, partial recollections, sometimes marked by absence or ambiguity—and so-called “fictional” memories, drawn from a collective, digital memory, that evokes two types of languages I try to bring into dialogue through my work.
