If these images would have a sound … they would create a vibration

The intention of these images is to contaminate the viewer.

I can only hope these images will be sacralized, cultivated and historicized.

My philosophy consists on the representational image of thought in action.

It is only by committing to a potential of change that a collaboration between tow artists can take place

If knowledge is the problem let’s make an art of ignorance. (Giorgio Agaben)


Photography is the art of connection that uses memory as its main instrument.

The photograph reproduces to infinity that which has happened only once.

A photograph mediates between memory and perception, the virtual and the actual, the past and the present.

Photography produces death while trying to preserve life.

While looking at a photograph my body transforms memory into sensation, action and perception.

Photography is an invisible medium in which the referent believes in.

To picture is not to remember but to perceive.

We see photography or photographically when we see or apprehend duration in an instant.

Photography is mainly a social rite, a defense against anxiety and a tool of power. (Susan Sontag)

Photography is a medium that confirms our perception of the world around us.

In response to Cartier-Bresson I identify photography as the “indecisive moment”.

Memory, as an ontology of becoming, constitutes the virtual life of photography and intuition, as a method of understanding, enable us to apprehend it. (Sara J. Kember)

A photograph is a particular object that stimulates the remembrance.

Through photography I can actualize my fantasies and allow other people to experience them.


I’m the fruit of artistic contaminations.

My photo camera is my mask.

I enjoy the constant interconnection between myself and the others… we all have the capacity to affect and be affected.

Maybe it is because I express myself through photography that I don’t feel the desire to manipulate the surface of my body…

In this constant becoming I’m searching for my “authentic self”.

If I had to describe my practice I would say… my practice is contaminated…

Through my work I want to develop a language of affectivity.

My innate libidinal curiosity brought me into the world of diversity.

I see my artistic practice as a process continually in the making.

The body is always co-constituted through its relationship with others, human and non-human.

To photograph is to encounter a potential object of fascination.

Photography is the art of instability.

We can know the impossibility of the real in representation but we can nevertheless feel its presence.

I specifically use photography to suggest the public perception of my actions

My work always exists on two levels: as an action in nature and as a documentation of that action in the form of photography.

I start thinking of photographic portraiture as an action; the transformation of a body into a sculpture.

I have always consider my work a site-specific practice where the actions are activated by the relationship with the space. This is the main reason why photography became a vital part of my life.

I don’t consider myself as a photographer, yet I regard my photographs a significant aspect of my work

I always do the action for the image.

I’m interested in the confusion between art-documentation, art-object and art-action.

My work is intangible; its essence is absence; its presence is between; its message is indefinite.

Photography connects and separates the lived experience.

I consider documentation as an act of translation or transformation.

My medium is not photography, my medium is the image: the relationship between the object in the mind and the real thing.

My medium is the photographed body.


An idea is energy that can provoke a lot of images. An image produce energy that can animate a lot of action.

I think about the viewers of these images as witnesses of a performance.

I want to expose the tension between performative and representational.

Photography is generative: photographs are neither reflections of nor a mask for the social, they actively contribute to the production of the social.

I’m thinking of documentation as an intervention not as observation.

Photographic actions do allow me to connect and separate at the same time with reality.

As photographer my matter is my life and my instrument is the cut.

Photography is our creation and corresponds to our instinctual inclination of being outside observers – like fantasy photography is transformative.

I desire to see behind the surface of the photograph.

I became more and more interested into the performativity of photography.

It is not possible to capture or express life as it is lived.

I perceive the control of my camera.

To believe into the ‘Illusion’ is part of our human nature; same as out fascination with liveness.

In my contemporary image-based culture, events and actions are informed and choreographed by images.

The process of becoming an image has become a real addiction and excess.

I want to make sure that collaboration is not a neoliberal strategy to gain more visibility maintaining individuality but a methodology based on the exchange and mutual relational contamination.

Sometimes I imagine the photo camera to represent the audience.

I would like my work to become echo, gossip and waves as well as emotional images.

Photography is a relational practice and, like dialogue, it is a constant process of resolution, completeness and exchange.


The body is the object that we know the less.

Photography is an activity of selection and interpretation.

I want to create pictures in which you can feel my presence.

I never looked at me from the place from which I see you.

Through my work I’m always in relation with the gaze of the viewer.

I want to live a photo-sensitive world.

I’m looked at, therefore, I am a picture.


I’d like to think of photographs as ceremonial object.

My life is told in pictures.

Curiosity is my driving force.

Sometimes I think of myself as an anthropologist participating in the construction of diversity.

Making a photograph is the process from the idea to the action.


I ask for a physical response to my images.

These images have been made with the intention to be shared.

Presence is that something whose absence can always be observed in the picture.

These images act as a theatrical stage on which each collaborator performs a message through an action.

I believe that the conscious activity and construction of these images works against the objectification of my collaborator’s body.

When I take a picture I have the feeling of transforming reality.

I would like all my images to be intuitions.

Through my camera I see everything as an object.

The mission of photography it not to explain or certify but to confuse.

The first digital camera was introduce one year after I was born.

I believe photographs are agents of change.

Photographs don’t only show us things, they do things. They engage us optically, neurologically, intellectually, emotionally, viscerally, physically. They demand our scrutinity and interpretation. Photographs seduce and motivate us; they promote ideas, embed values, and shape public opinion.

Photographs are not simply vessel of memory but have the capacity to create, interfere with, and trouble the memories we hold as individuals and as a culture.

The meanings of photographs are provisional.


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