I try to present a wider, more complex and diverse view of the world through the obliteration of the boundary between the fictional and the real, and through the rejection of photography compartmentalization into genres. My work is not a search for information, but for transformation, I do not intend to reach a particular goal, but a state of mind.
I’m both an observer and a fabricator of a world of make-believe, so it’s not clear what I found there in front of my camera and what I manipulate and stage. To me, the narration is the basis of emotional engagement and my goal is for people to respond emotionally to my images. In my photography I do not feel obligated to describe phenomena, therefore I do not consider myself a documentary photographer. Of course, places and people appear in my work, but the documenting aspect is only a side effect; because they are essentially narrative images, not documentary or descriptive, that borrow from different photography genres (fashion, street, documentary, portrait…) resulting in images that fall in between categories, without fitting perfectly into any.
My projects may last for years, with direct and constant contact with the depicted object, with whom I interact closely. This working process allows me to shoot at close-range giving the pictures a straightness and a natural intimacy that feels sincere while denying the audience the mere observer’s safe distance. There is not detached observation, rather a kind of collaboration in which I try to involve my subjects in the story telling.
As a consequence, many times I subtract in order to find the simplicity of a situation by reducing it to the essential. I use black and white, because of the absence of color, the information provided by the color, allows me to establish a stronger message. Each color brings its own personality and therefore causes a digression from the work. But black and white limits things and the more limited things are, the more noticeable they become.
The protagonists of my photographs do not monopolize the image with his look, avoiding a direct recognition; which implies an invitation to the audience to find their own interpretation of the work. When you can directly see the eyes of the subject in a photograph, they encompass everything; but when you cannot, it complements the image instead of making it the sole protagonist, and the imagination can go further because it forces the audience to dwell on details that are often neglected by the intensity of the look. My intention is that my works will have several and varied readings, which transcend a casual glance. I enjoy it when the viewer has to stop to decipher an image so that dialogue and complicity are established.
The resulting images invite contemplation so that we can abandon ourselves to the flow of associations of ideas that we raise. It is photography opposite to the continuous flow of images that we are subjected to nowadays, in which each new image replaces the thoughts that we could have lead from the former and aborts the chance to dive and immerse ourselves into the previous one., which sets me apart from both, the conventionalism of photojournalism and the conventionalism of social media.