When working I find that an important reason from which interest and momentum of creation arises are the own powers of photography, those relating to the documentation the movement and time, the random chance of corruption and transformation, in addition to its direct relation with reality and also to memory, as two driving forces that meet in the image. So in my work there is always an attempt to preserve the foregone.
By this I try to renew normal from detailed observation of everyday life. Is a working method that I derive from those things that attract me, and a narrative thread in my portfolio. The idea of transit, either physical or
emotional, remains through out my series, where there is always a sense of change at the end. In my early work I used portrait to express this, today I seek to meet with the city as a place changing languages. Always using photography as the main media, manipulated through the repetition of the image until, through observation, new interpretations arise.
So when I work with footage form archives (personal or otherwise) or new images, they go through a transformation process that emulates my own creative process with the intention of showing the multiplicity of experiences from the thing that I already know. In contemporary art practices I rescued a major influence in
my work that comes from the importance of concept, photography itself is essential for this, and I consider it
a necessary method of documentation of the artistic act. So I use it as a document for understanding my environment and the subsequence reinterpretation through appropriation. In addition to using my personal story as emigrant, I dive into a wide contemporary discussion where political commentary and art meet, beyond my own body, expressing not only a physical journey, but also within.