2015-2025
In Do you want me to come? I visit these traditional cruising parks in the city of London and examine their social activity, to see if they remain a place of social change or have become something else. Making myself known in the cruising space, I capture a plate with my 4x5 camera to preserve this place for posterity.
My work engages and explores the boundaries of photography as a critical practice to combat existing social power structures in public and private spaces, with an emphasis on the creation of a new visual language to portray the non-visible space. A question that I am currently trying to answer with my practice is, on the one hand, how do the evolving politics of my own community (LGBTQI+) change how we interact and cruise? And on the other hand, how do the effects of normalisation and social cleansing erode the cruising grounds?
I use photography as a tool to try to portray this invisible and ever-changing space, to preserve it against extinction. Eventually, it is as if these places were specimens to be encased in a transparent box, safeguarded to be seen by future generations. The lack of verbal interaction in the cruising act gives way to a distinct type of non-verbal communication, one based on gestures, looks and body language: a semiotics of cruising and its reflection on photography.
2013-2014
Deracination is a photographic project that follows the traces of nomadic shepherds during their stay in the Manchay region of Peru.
They travel across the country with their families and cattle, looking for the vegetation that grows in the desert when the fog arrives during the winter.
The project discusses people, a locality, and even nature, which is transient and continuously evolving.
2013-2014
The remaining part of something.
To relax, sleep or recover strength.
To relax, sleep or recover strength.
Book available upon request.
2013
Bucolics is a project that explores the idealization of the landscape and how this is affected as the city grows. It also addresses the traces left by human beings and how these traces signify humanity's need to civilize everything.
The paths and structures convey a mark inscribed into the transitioning landscape. That transit has no owner, leaving us open to the future of these regions, allowing us to idealize them once again.
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On the Transgression of the Bucolic
We speak of the bucolic as the evocation of an idealized countryside or life within it. However, the purity it refers to stems from its poetic baggage. It is this very transgression of idealization that is revealed in these images. (Simultaneously, it ends up corrupting the images themselves). We witness how the landscape transforms, leaving behind the utopian countryside. Yet, it also resists, gradually slipping away from us. Few places are as poetic and personal as the rural landscape.
Bucolic, its definition could be symptomatic for this project. (There are several dualities within it). It could be said that the bucolic lies between the poetic and poetry itself. Simultaneously, the ideal of the countryside also references the life that develops within it. This is why the project has two parts: one focuses on how the countryside is affected by transformation, while the other examines how life within it reacts to this.
2010-2013
Through photographs of architectural structures, I reference certain ideals and expectations of progress and well-being in Peru from the 1940s to the late 1960s. I present these structures interacting with the current urban context, marked within a city that no longer converses with them in the same way.
Today, we pass by these structures, and many of us don’t realize they are monuments to a revolution. This revolution, through architecture and a belief in progress, along with science and technology, aimed to change how we live and even altered our relationship and movement through space. For many, it goes unnoticed that the world we inhabit would not be the same without these “machines for living,” where the revolution is confined to space, ultimately changing how we live.
Lima has changed over time and continues to do so. It no longer believes in the same things. These structures stand before the city as great monuments that fight against the passage of time and remind the city of a promise of modernity and progress. They are facades that show that, inside, only the memory of that promise remains.