Nature is the origin of my work, and for that very reason, respecting it is an essential part of every piece I create.
The butterflies and insects incorporated into my work are real specimens that have completed their life cycle and have subsequently been preserved. I do not kill butterflies for the purpose of creating my artwork.
The specimens I use are acquired through specialized suppliers who work with breeders and butterfly farms and maintain the documentation, licenses, and permits applicable to the species and activities that require them.
Responsible butterfly farming can serve as a tool for conservation. These farms depend on host plants, vegetation, and suitable habitats to breed and maintain healthy butterfly populations. By creating economic value around these ecosystems, they can also create an incentive to protect them and provide participating communities with a reason to preserve the biodiversity surrounding them.
For this reason, I strive for my work to be part of a responsible chain:
Breeding. Conservation. Responsible use. Preservation. Art.
Responsible Trade & Traceability
The acquisition and international movement of wildlife are subject to different laws, regulations, and international agreements depending on the species and countries involved.
For this reason, I work with specialized suppliers who maintain records of origin and the applicable documentation for the specimens they provide. When a species is subject to special controls, including those established under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), the appropriate documentation must accompany or support its trade in accordance with applicable regulations.
My commitment is to work only with specimens of lawful origin and to retain the available documentation that supports their provenance.
Preserving Rather Than Consuming
A butterfly’s life may be brief, but its beauty can communicate something for generations.
My intention is not to turn nature into something disposable. It is exactly the opposite.
Every specimen incorporated into my work becomes preserved within an artwork created to endure. Something that was once ephemeral becomes a memory.
I do not seek to replace nature or claim ownership over it. My work comes from observing it, respecting it, and finding a way to preserve a small part of its beauty.
I believe art and conservation do not have to exist in separate worlds.
When nature is protected, it can continue to reproduce.
When it is preserved, it can continue to tell its story.