During the crafting of Siblinghood I had the privilege of discovering the magical world of physical mixed-media animation. I grew a newfound appreciation for stop-motion animation, and fell in love with the intricacy of designing every frame.

I try to experiment with the range of tones and textures that film provides, along with the everyday expressions of nature and its biodiversity.

The project explores the many emotions experienced during and after a turbulent career in the military documented in a journal, accompanied by imagery taken in Iceland and the Lofoten Islands.

It’s often not until after the film is developed that I start to see a pattern in what I must have been feeling and where the idea was going. Nostalgia is an emotion that always leaves a heavy impression on me.

I’ve been working on quiet, unfinished pieces — the ones that don’t always look like projects from the outside. I'm refining how I show up and paying attention to what I return to when no one’s watching.

That year, work consumed me and I took very few photos. Now I’m fighting against that. I’m trying to live more, to feel more, to not let the chaos crush me. I feel like I’m reclaiming my sensitivity and my time.

This approach has benefitted from the fact that I’ve been to a lot of interesting places in the last few years. I’ve visited Scandinavia, been to weddings in places I’d never been, and I’ve been exploring my city through the lens of a new camera.

About a year ago, I discovered that every Sunday in downtown Milan there’s a vintage car gathering. I started photographing there just to make aesthetically pleasing images, but it’s actually turning into a detailed story full of passion and sacrifice.

Shooting on film forces me to be present and to carefully choose what I want to capture. For me, taking someone’s photo is a gesture of affection, a way of saying: I see you.

Small details, walks, portraits, travels, places I stayed at, spaces that felt like home. No matter the setting, my work has been very much about emotions and intimacy.

Film photography was a way to develop how I depict a story and emotion, and that’s since progressed into film directing work—particularly in commercial, fashion, and documentary.

I’m less interested in clear narratives and more interested in creating an atmospheric illusion of life as it’s actually lived, messy and unresolved, mundane yet surreal.

My work is rooted in raw, candid street photography. I rarely ask permission and also use flash; once a moment becomes staged, the truth disappears. My approach may be unorthodox, but it keeps things honest… and well lit.

Las palabras que más han estado rondando mi cabeza últimamente son: “Séptimo aniversario de Enmarcaciones El Dorado”.

I love to lean into my bread and butter of shooting women on film, outside preferably. I find their curves and femininity easiest to capture and achieve this flow state of creativity.

I constantly have a voice of self-doubt just telling me to not go to certain places, to not stop and take that picture or that I'll get in trouble if someone sees me.

What I found out was that photography isn't about the camera or gear you are using, it's about how it makes you feel while using it.

Landscapes don’t judge, so I feel at ease taking photos amongst it. I’m drawn to the aesthetics that surround people's lives, extensions of their personality, especially the ones they are unaware of.

I'm quite a solitary person so I find a lot of comfort in hunting for scenes to photograph. I'm drawn to places at their quietest and the way the artificial light we've placed creates its own image.

I’m not looking for perfect compositions, angles, or polished technique. My photographer self, unlike my writer self, emerged from the need for people to see what I see and how I see it: situations, emotions, people.