My work is built through movement, walking, carrying cameras, slowing down, returning to the same places until they reveal something beyond the obvious.
These images are not organised by genre, but by the way they hold time: reconstructed faces from prehistory, bodies that stretch or fracture, territories crossed on foot or by motorcycle, and hybrid forms that question what an image can become.
I use analogue cameras, large formats, panoramic systems and digital tools not for nostalgia, but for the tension they create. Each medium forces me to negotiate with light, weather, fatigue, distance. The image is the residue of that negotiation.
This section gathers the works that have taken a stable form, series that can be shown, exhibited, read as coherent bodies of images.
They reflect the different layers through which I move: origins, bodies, territories, and hybrid realities, all connected by the same slow and physical approach to seeing.
These images are not organised by genre, but by the way they hold time: reconstructed faces from prehistory, bodies that stretch or fracture, territories crossed on foot or by motorcycle, and hybrid forms that question what an image can become.
I use analogue cameras, large formats, panoramic systems and digital tools not for nostalgia, but for the tension they create. Each medium forces me to negotiate with light, weather, fatigue, distance. The image is the residue of that negotiation.
This section gathers the works that have taken a stable form, series that can be shown, exhibited, read as coherent bodies of images.
They reflect the different layers through which I move: origins, bodies, territories, and hybrid realities, all connected by the same slow and physical approach to seeing.