Visual arts
“The relationship between what we see and what we know is never clear. Every evening we see the sun setting. We know that the Earth is moving away from it. However, knowledge, explanation, never quite fit with vision.”
-John Berger
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Remembrance
Many questions arose: To what extent have we contributed to the language of photography? Should photography adhere to a program of representation simply because it is an optical tool? What are the limits of mimesis, reality, and truth?
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About to lose
The entire process was deeply formative. During the development of my initial project, I experienced one of the most significant losses of my life, reopening old wounds and reminding me that I still have a great deal to reflect on and communicate. That’s how
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Staff
As a photographer, I believe we all pursue something when we take a photo. For me, it’s something intimate, a closeness that can be felt through the image. The photos that evoke this emotion are the ones I connect with most, and I like to think that this aspect runs through all of my work.
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The flow
I’ve learned to think a little bit more about the shots that I want, and I’ve also unlearned the need to focus on getting the perfect picture while working on such a project. I think when you think less, you naturally create something more coherent.
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Ambiguous answers
The best photos I’ve taken are the unplanned ones or the ones that were improvised. Whether a lamp failed, the original idea wasn’t working during the session, or my space was limited at a concert, etc. Photos don’t have to be perfect all the time.
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Better times
That symbols are everywhere, and if you manage to weave them into the creative process, they can enrich it immensely. One has to stay attentive to the symbols around us. Not because they are signs of the future, or because they have some superstitious power, but because they reflect what lies within ourselves, the processes happening inside.
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Time doesn’t move
For me, photography happens in this encounter. The more the other person feels seen, heard, and at ease, the more honest the image becomes. My work seeks to inhabit the threshold between the documentary and the intimate, where light, time, and presence construct a silent narrative.
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A crooked compass
Many of my ideas come from phrases I’ve read, dreams, or places I stumble upon by chance. A recurring dream I have is running without being able to stop, afraid that I’ve missed something extraordinary.
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Natural wisdom
I’ve always been very interested in artisanal techniques and the importance of keeping them alive through generational knowledge. That’s why I spent a few weeks in Oaxaca and San Luis Potosí visiting some mezcal distilleries, and I was fortunate enough to photograph the master mezcaleros throughout their entire process.
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La paz
What I definitely learned is to be patient and consistent. I’ve been doing this since 2006, and I think that after many closed doors, in recent years I’m just beginning to see the results of nearly two decades of work as a photographer.
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In my place
Lately, I’ve been focused on photographing what I like to call “my life path.” Everything that inspires me comes from my daily life: my friends, my work, my travels; whatever I consider important to me.
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Sunflowers for spring
Good things take time. I’m someone who likes to see quick results, or at least I used to. But I’ve been working on this project for four years. In the beginning, I was very stressed because I couldn’t see the final outcome. Luckily, I had a great mentor who convinced me that if I kept working and photographing in my own way, something would eventually emerge.
