Although working as a Geological Engineering, I had always felt a set designer inside. I needed some time to match the two complementary driving forces of my life path: my inner vocation and my professional career. Currently, I have a Postgraduate degree in Set Design for Performing Arts by Elisava (Barcelona School of Design and Engineering). Since 2012, I design scenographies and conceptualize spaces, linking a wide range of directing for TV commercials.

In 2017, I started working with the set designer Laura Clos “Closca”, thus formalizing our “artistic marriage” and working philosophy/work concept with the creation of a cooperative: Set Up Design SCCL. Even though I have recently moved to Leuven (Belgium), this has not meant an obstacle for continuing with our partnership. To the contrary, this change might represent an opportunity and a driving force to show our projects to new scenarios, both in Belgium and Spain.

Our recent jobs in Barcelona includes the set design for “Els jocs florals de can Prosa” (directed by Jordi Prat i Coll at the TNC – National Theatre of Catalonia –), “La nit del drac 2018” (directed by March Rosich at the Plaça del Rei), “Sàpiens” (directed by Sergi Belbel at the Sala Flyhard), “Life Spoiler” (directed by Marc Angelet and Alejo Levis, at the Sala Flyhard), the light and set design for “Panikkar: poeta i fangador” (concert by Lidia Pujol, Grec 2018) and the set design for  light and set design for “Muda” (directed by Mercè Godoy at the Akadèmia theatre, Grec 2018) among others.


To me, set design means a collective adventure of knowledge, passion, inventiveness and intimate creativity where curiosity and empathy are the best allies. While designing, I always try to assimilate the director’s ideas, understand and love the text as a writer and be sensitive to the interpreter’s needs in order to create evocative imaginary spaces that are full of truth, sense and poetry. I believe small details are critically important, while I let myself be seduced by the wide potential of materials and the exploration of new formats and scenic languages.

I am always working from the premise that the function of design is not merely to illustrate the performed text, music or movement, but to provide a further layer of visual narrative.

I enjoy inventing new playing rules in every project, in every challenge, and transforming the set – enabling it to becoming one more character-. I seek the audience to question itself: what am I going to see next? what will be revealed?