Durante la construcción visual y narrativa he logrado aprender a apreciar cómo el transporte público brinda un espacio de “no lugar”, donde se simula cierta renuncia a la identidad y solo se vive la espera.

The brief snow season we experience in Australia became a quiet way of thinking about the nature of temporary connections, including the one with the person I went on that road trip with, who I have since parted ways with.

My main project is motherhood. In the coming months, I hope to return to the ceramic project and refocus on developing editorial projects, which remain the central axis of my practice and the space where I most enjoy working.

I try to carry a camera with me to document my walks, the rhythms of the places I move through, the colors of everyday life, and the gestures of the ordinary that catch my attention. Added to this is the “discovery” of how everything expresses itself unpredictably when shooting with expired film.

I’ve always been fascinated by photographing abandoned or empty buildings, and over the course of my photography it has evolved from being very literal into something more nuanced (that’s not to say I don’t get super excited about abandoned buildings, because I definitely do).

As in a haiku, the content of a photograph is minimal. We don’t know the context, the smell, or the circumstances that led to the creation of the image. As viewers, it’s up to us to fill in that information.

Sometimes a good photograph appears when I stop looking for it so desperately. I’ve also learned that I don’t always have to be creating something new to feel like I’m moving forward.

My gaze changes day by day: what interests me today may stop interesting me tomorrow, and vice versa. In this process, I try to keep curiosity alive and continue looking at the world with the same eyes with which I once learned to photograph.

I went out with my family—whom I hadn’t seen in 15 years—to deliver large water jugs to the farming fields in Patole, Sinaloa, and I brought my analog camera with me to photograph life in the fields.

Durante mucho tiempo estuve enfocado en hacer retratos, pero en los últimos dos años, me he enfocado más en salir y hacer fotografía de calle en mi ciudad o en los lugares a los que viajo.

I’m interested in portraying images that convey melancholy and solitude, focusing on the process of inhabiting the world as human beings. I’m drawn to capturing intimate and quiet moments that speak about the experience of existing. 

Rather than closed projects, my practice functions as a process of exploration and inner discovery, where each image becomes an episode that feeds into a larger project focused on maintaining my sense of wonder, feeling present, and nurturing an internal dialogue.

La ropa carga códigos sociales, tiempo, clase y la presencia del mundo construido por el ser humano; todos elementos que deliberadamente excluyo de mis pinturas. Al retirar eso, el cuerpo puede existir en y con la naturaleza, como algo elemental y no construido.

Currently I’m in the process of working on four projects at the same time: my collaborative design shop, the new collection for my brand, a fashion show with two other brands, and also an analogue photography documentation project.

Despite usually engaging in street photography and photojournalism, I've been slowly formulating an idea for a photographic book on the art form and culture surrounding tattooing.

Lately, I’ve been diving into medium format slide film with my beautiful RB67. The simple complexity of its mechanical operation has me enthralled.

I’m on a lifelong mission to take portraits of my beautiful friends. I have a roll of Ilford FP4 Plus in one of my cameras at the moment for double exposing. I’m nearly finished with that one and I’m super excited to see how they come out.

Being creative takes time, money, risk, failure, many different aspects which can be easy to avoid with the demands of life. Trying to find a balance that can be sustainable is important.

From photos of my loved ones to strangers and scenes I observe on my travels, I couldn’t imagine a world where that no longer feeds my soul. I hope you enjoy this selection of film photos pulled from this ever-growing archive.

One of the central axes has been solitude—not as a lack or something negative, but as a necessary space to encounter oneself. From a perspective close to Taoism, solitude becomes silence, and silence becomes clarity.

This year I’ll travel across the Baja California Peninsula, from Tijuana to Cabo San Lucas. More than a vacation, this is the first somewhat serious project I’ve done since university.

Once I began working with analog photography, I gave my work a sense of pursuit. Everything I photographed became a constant questioning of belonging, identity, and the simple act of existing and “being.”

I’ve done some close-up (almost abstract) work of pinball machines using extension tubes, some macro work of sea shell fragments — average of about 4mm in size and printed out really big. Amazing.