I photograph spaces, both physical and cultural, with a certain mythology associated with them while exploring myths present in our collective imaginary as a society. For this purpose I try to merge dream and reality, fiction and documentation, to overcome the opposition between both realms and to create an undifferentiated whole. In this way, the resulting images fall in between categories, without fitting perfectly into any. 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.
My photographs are an emotional portrait where the protagonist does 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.
In my photography I do not feel obligated to describe phenomena, what I do is relate that of which I think, the resonances between what is in the world and what is in my mind. It’s an invitation into my world. So I have no interest in documenting and I do not consider myself a documentary photographer. Of course, in my photographs places and people appear, but the documenting aspect is only a side effect; because they are essentially narrative images, not documentary or descriptive. The narration is the basis of emotional engagement and my goal is for people to respond emotionally to my images.
As a consequence of this, many times I show you what is not in the picture. In a deep form of representation, I try to show something or someone who is not there- in showing that which is materially present. It is a presence through absence. It is also a way to subtract in order to find the simplicity of a situation by reducing it to the essential.
In this desire to subtract in order to show essence I use black and white, because 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.
My projects may last for years, with direct and constant contact with the depicted object, with whom I interact closely, thus allowing me to wait for the right moment to intervene and photograph from an informed point of view. Because I believe that what turns access into learning is time and patience. As a result, I tend to capture the subjects of my photography apparently unaware of the presence of the camera or in mid-gesture, with a sincere and intimate result.
This form of work is a procedural legitimacy of photography as art in the broadest sense, so I am a definite distance away from the conventionalism of photojournalism. 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 nowdays, 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.