Tell us a bit about your background. What exactly inspired you to become a designer?

I grew up in southern Brazil, in a region where lush natural landscapes coexist with the industrial architecture of coal mines. This contrast deeply influenced my perspective, teaching me to appreciate the contrast between the raw and the refined. My first experiences with furniture and interior design projects came about in the context of my family business which gave me a hands-on understanding of materials and forms. By the age of 16, I was immersed in the local creative scene, where I was exposed to the work of Brazilian designers who historically challenged conventions. This combination of environment and experiences led me to see design as a tool to explore these tensions.

How did your inaugural furniture collection come about?

The collection transpired through an investigation into materiality. I wanted to create objects that balanced weight and lightness, capturing a sense of the raw and the sublime.

You named the collection Apollo, a name that draws inspiration from both Greek mythology and space exploration. How do these two seemingly distinct worlds converge in your creative practice?

To me, Apollo symbolizes the duality of human ambition—which while rooted in ancient ideals of harmony and beauty, also reaches towards new frontiers. Both mythology and space exploration reflect a timeless curiosity about what lies beyond our immediate grasp. I strive to unite these perspectives, creating pieces that are inspired by our history and civilizational process, while also looking towards the future, exploring the counterpoint between permanence and discovery.

Talk us through your creative process. Do you design every detail in advance, or does significant experimentation also take place during the manufacturing phase?

My creative process is non-linear and often intuitive. Although I start with sketches and well-defined concepts, much of the work evolves through material experimentation. I see the design phase as a continuous dialogue between concept and execution. Unexpected textures or forms often emerge during the production phase which allows me to add a certain depth and character to the final piece.

What materials and techniques do you primarily use to craft your designs, and how do they influence your creativity in terms of form?

I enjoy developing materials and textures. Right now, I’m working on surfaces made out of stone fragments that are often discarded by the industry—it’s a sustainable process also results in visually striking and unique textures. I find these techniques particularly exciting as they open up so many possibilities in terms of my creative output as well as a source of constant discovery which is ultimately what drives me.

You have come to be known for combining industrial materials such as concrete and acrylic putty with artisanal handcraftsmanship. What exactly draws you to this contrast?

I am drawn to the opportunity to observe and understand the contrasts and dualities of our reality. In Brazil, we coexist with dichotomies everywhere: nature and concrete, lightness and weight, and reality and fiction. Living between these world perceptions, where chaos and fantasy coexist, makes me value difference, helps me to embrace the unexpected, and rethink our relationship with the environment. I believe my work indirectly resonates with these ambiguities in a subjective way.

You often use reflective finishes in your designs. Why? What qualities do you like about them, and what do you aim to convey through using them?

Reflective finishes introduce an element of interaction. They transform the object into something mutable, allowing it to constantly shift with its environment and the observer’s perspective. Additionally, I associate silver in my work with a futuristic and spatial image. It’s a colour that conveys depth and mystery.

I have a particular fascination with astronomy and science. For the Apollo collection for example, I introduced a a lunar texture into the pieces, thereby incorporating more experimental layers. If you think about it, the moon, at its brightest, reveals a silvery tone. I wanted to transport this human longing for infinity into the pieces, so I researched formulas to transform and colour the material that I was working with and finally settled on applying silver leaf, which is a centuries-old technique.

How would you describe your aesthetic?

I believe a common thread in my creations has been the exploration of contrasts, such as weight versus lightness and ancestry versus futurism. These elements, though contradictory, are juxtaposed to evoke reflections rather than offer immediate answers. My objective is to create pieces with layers of meaning that unfold over time.

Your work focuses on blending primordial elements with a futuristic aesthetic. Would you say that this enigmatic duality is intentional? If so, can you elaborate on the concept or philosophy that drives this unique approach?

Yes, this duality is definitely central to my work. I’m fascinated by how ancient forms and narratives can resonate in contemporary contexts, allowing for reinterpretation. I’m vety much inspired when pieces challenge our linear perceptions of time, inviting us to question our relationship with history and the unknown.

Do you view your designs primarily as functional objects or as sculptural artworks? How do you navigate, or perhaps blur, the line between the two?

My recent works are functional but aim to provoke thought and emotion, dissolving the boundaries between use and contemplation. It’s in the ambiguity between object and sculpture where I find greater creative freedom as it allows the piece to exist on multiple levels. I enjoy working with materials, textures, and forms that transcend mere functionality, exploring languages and formats that, through aesthetics, encourage subjective reflection.

Tell us about your installation at Alcova Miami. What is the concept behind it, and what do you hope to elicit from visitors?

It’s an evolutionary fragment of the collection that I presented during FuoriSalone earlier this year (at Piloto Milano) and at my solo exhibition in São Paulo. As a living ecosystem, the installation invites viewers to immerse themselves in various layers of perception and their own projection within space. It encourages observing the pieces with a tactile gaze, exploring surfaces beyond the ordinary. The counterbalance of extremes is clearly visible, achieving a certain harmony in the unexpected. Additionally, there is a reference to the industrial background, which isa recurring element in my work, that embraces the viewer as an integral part of the process.