Constructive Light is a series where light is approached through an object-oriented and geometric exploration. In this work, interest shifts toward an architectural understanding of the pieces, where lines of light, volumes, and chromatic surfaces are organized as spatial structures that build a system of relationships within the space. The works are composed of simple geometries articulated through volumetric counterpoints and formal tensions inspired by Brutalism. Here, lines of light cease to function solely as illumination sources and begin to operate as constructive elements within the composition, establishing vital links with the planes, volumes, and forms that surround them.

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The underlying research focuses on the interaction between three conditions of color: luminous color emitted by the lighting tubes, pigment color present in the painted volumes and surfaces, and subtractive color found in the semi-transparent acrylics that function as chromatic filters. These three manifestations activate one another, generating a perceptual field where each element modifies and transforms the rest. Consequently, the pieces are conceived as open systems of geometric relationships where forms, colors, and lines of light repeat, connect, and reorganize. Through these structures, a dynamic environment is constructed where the perception of color and form shifts according to the viewer's vantage point and their movement through the installation.

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In certain works within the series—such as spatial interventions developed for architecture—the composition expands beyond the isolated object to integrate with its containing space. Geometries, chromatic filters, and lines of light are distributed along the path, generating a continuous system with no clearly defined beginning or end. In this context, geometry functions as an autonomous visual language; lines, planes, and volumes are presented for their own intrinsic value and organized as a system of relationships that represents nothing external to itself. Ultimately, the work is activated through the viewer's perception, as their displacement through the space reveals how forms, light, and color establish shifting bonds within the structure of the installation.