Photography is a medium that allows beauty to reveal itself in the most unexpected places, it illuminates what was hidden in plain sight, spotlighting the extraordinary in scenes of everyday life.

The city is a stage charged with immense erotic and vital energy. The street and its passing strangers play a central role in my work. Observation always raises questions: Who are they? What are they thinking? Where are they going? Where do they come from? What do they desire?
Taking photographs is a way of apprehending the world, of devouring it. It is also an attempt to freeze the fleeting, fragile, fascinating and absurd experience of being alive.

There is a strong cinematographic influence and feel that runs across by work.

I am drawn to photographing enigmatic scenes that hold a specific tension, places where something is about to happen or where something has just happened.

Photographs where people are looking and reading are common. In some cases, what they are looking at is partially left unseen, either blocked, veiled, or altogether placed outside the frame, unavailable to the viewers enquiring eye. This visual lapse charges the scene with tension and embodies the idea that vision is always partial, limited and subjective.

Photographs taken through windows, shattered glass, and other semi-transparent materials and the use of colour filters and inversions tap into the theme of the subjective gaze. Mirrors, reflections, shadows, windows, doors and other devices of spatial unfolding are recurrent motifs that further explore notions of visual multiplicity and ways of seeing.

People usually appear with their face turned away from the camera, only partially visible and never fully available. People are an inaccessible mystery which the camera is only partially capable of capturing. There is a sense of strangeness in this. The image becomes suggestive, it opens up to the possibilities of fantasy and imagination.

My photo-collages and the Invert, Red, Éter, Ripped and Art Fairs series all reflect on ways of seeing, the limits of vision and the symbolic and metaphorical power of images.

The relationship between time and photography is also an undercurrent theme that runs through my work. Photography allows us to capture an instant, that moment suspended in time which we cannot access through our own temporal perception. The present is always an immediate past, only photography can capture it.

An instant supposes a static conception of time. Introducing a series, a set of consecutive photographs, emphasizes the idea that the image we are looking at is part of an uninterrupted flow of images, highlighting the temporality to which that moment is held and revealing the illusory idea of the privileged instant.

Placing photographs successively one after the other, in a series, introduces the possibility of creating a story that interweaves the images together. The blanks between the images are incisions, ellipsis that fragment the continuity between them. At the same time, these visual silences allow the viewer to fill in the blanks and reconstruct a story behind the missing links.

Photography is an exercise on the reconstruction of reality. The artifice, even when its not evident, emphasizes the construction behind all images. An image is always an impression, a subjective way of comprehending reality.

One cannot stare directly at the sun, only see the world lit by the light that it shines.