About Me.

My work in arts administration and cultural production is rooted in an intercultural perspective shaped by years of moving between contexts, languages, and creative communities.

Now based in London, I'm focused on applying that intercultural lens to the UK cultural sector while continuing to write about contemporary art's role in shaping culture. My background spans Mexico, Italy, Spain, and the UK - contexts that inform how I approach programming, management, and cultural production. The work remains the same: creating the infrastructure that allows art to reach people, building bridges between creative practice and public engagement, and ensuring that cultural projects have impact.

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I studied art history in Florence and completed a Design degree in Guadalajara, where I began to understand how design, art, and cultural practice intersect. That foundation led me to Cerámica Suro, where I spent three years as Head of Art Department, managing international artist residencies and coordinating exhibitions across Mexico and the US. The work involved building systems that allowed creative exchange to happen across cultural and linguistic boundaries - project management, collection building, and developing the infrastructure that supported artistic production at scale.

Those years taught me that cultural work requires both vision and structure - a theme I explored further in my MA dissertation at Goldsmiths, examining how artist residencies generate value across artistic, social, and economic sectors.

Education

2024-2025

Goldsmiths University of London

This programme offered a comprehensive approach to arts administration and cultural policy, balancing theoretical frameworks with practical application. Beyond the coursework, the placement component allowed me to work with Film London's FLAMIN Network, an experience that shaped my understanding of how artist-led programmes function within the UK cultural infrastructure.

The dissertation process became an opportunity to engage directly with two organisations whose work I deeply admire - Gasworks and Acme - examining how artist residencies generate value across artistic, social, and economic sectors. The programme also brought in guest lecturers who offered invaluable insights into the realities of cultural work, bridging academic study with professional practice.

One elective that particularly stood out was Museums and Galleries as Cultural Entrepreneurs, taught by Nicola Guy. The course explored how cultural institutions navigate entrepreneurial thinking while maintaining their mission, and the final project allowed me to apply strategic thinking to real-world scenarios in ways that continue to inform my approach to cultural programming.

2020-2024

Tec de Monterrey Campus Guadalajara

The Tec21 model offered a holistic design education that moved across disciplines each semester - graphic design, product design, industrial design, architectural plans - with each semester centered around developing a complete project from concept to execution. The programme taught not just design skills but the full lifecycle of bringing ideas to reality: research, strategy, budgeting, production, and presentation.

I chose design because it offered a complete framework for understanding how things work - from administration and finance to developing tangible products and systems. The Tec's approach emphasized strategic design thinking, which has become foundational to how I approach cultural work. The systems thinking, process mapping, and problem-solving methodologies I learned apply across any scenario, whether managing an artist residency, coordinating an exhibition, or producing a cultural project. Design taught me to see structure within creativity, and that perspective shapes everything I do.