ABOUT

Trained as a photographer, I initially pursued a form of documentary figuration, constructing visual narratives perceived as cohesive units. I sought a synthesis capable of suspending time and preserving it through representation. Yet, “the distinction between past, present and future is only a stubbornly persistent illusion,” and time itself is an artifice through which we attempt to make sense of the reality we perceive.

Moving away from the traditional notion of photography, I began a process of experimentation grounded in a conceptual approach, questioning the univocal nature of reality and aiming to express an inner perception free from narrative or symbolic superstructures. My work now emerges through making rather than representing, seeking to materialize awareness into a perceptible form.

A recurring theme is time, with objects that bear and retain its traces. The research is rooted in the intelligence of matter— its capacity to act as a vehicle for information that exceeds the limits of words and language. I select and employ natural materials as repositories of memory, developing a language closely tied to the materiality of the “canvas,” within a dimension shaped by contemplation and its translation into a tangible medium.

The technique is mixed: works that engage with the white space of the canvas, where the tension of emptiness provokes the impulse to act, in a process-oriented and Arte Povera – inspired search for balance. This approach seeks to reveal an imagery anchored in the here and now, while pursuing something that existed a moment before as a faint presence in memory and persists as an ideal image.

Within this process, objects transcend their literal meaning to assume a metaphorical dimension between physicality and conceptuality. They refer us both to what we know and to what might be, inhabiting an intermediate state between matter and idea, between metaphor and the trace of actions and gestures — within a reality that unfolds in a time without a present.