My camera is a tool, acting as an aesthetic weapon that allows me to shoot without killing, but still wounding. The act of healing that wound brings understanding and awareness.

In the darkness, light is the material that allows us to see. We all see the same light. In photography, light is the tool. The flashlight takes out and accentuates the object from the natural light, taking ownership over it.

In my work I feel as if I'm going with a torch between power cuts, trying to illuminate what is darkened. I'm interested in people as subjects. Through my individuality I examine multiplicity, encompassing not only the mainstream of society but also its sidelines. I put a spotlight on the people of the periphery, with all its implications moving between the lines.

Through photography, I take things apart and reassemble them in an unorthodox way.

The body of my work builds relations between images. Through a hybrid presentation, I question the connections between painting and photography, the moving image and cinema.

My work combines emotions, spontaneity, volumes, movement, beat, and eventually quietness. All these elements become one, building something that is not narrative, giving a new perspective that has a myriad of angles. Everything is possible.

My images move from side to side, from center to periphery, in and out of focus—one moving and one still. Trying to reach a specific moment, I create a unique dynamic, a twist that is impossible to catch.