My photographic practice initially developed through a direct engagement with the real, using traditional photographic techniques. The image was, at that stage, born from the imprint of the world. Over time, my work shifted towards a more experimental and materially driven approach, as the mere representation of what stood before the lens no longer seemed sufficient. I still begin with this world, but in order to open onto others—not to replace it with imaginary realities, but to bring forth, through the alteration of its forms, the possibilities it contains.
I work with bodies, landscapes and matter whose identities, initially recognisable, gradually become uncertain. My aim is not to produce strangeness for its own sake, but to place the viewer in a state of uncertainty, at the precise point where what seems familiar begins to elude recognition.
In this sense, alteration is less a departure from reality than a way of questioning it. To alter an image is not necessarily to move away from what it depicts; on the contrary, it can be a way of reaching a truth that immediate representation leaves concealed.
The body and the living are central to this inquiry. I approach them not as fixed or finished forms, but as unstable realities, capable of transformation while retaining something of their identity. One question runs throughout my work: what, within the same, endures as it mutates and gives rise to its own otherness?
My work inhabits this tension: between permanence and transformation, recognition and uncertainty. It seeks to shift the viewer’s gaze towards the point at which the certainties it once relied upon begin to falter.