The complicity and affinity between me and my camera are enormous. The camera is an extension of my body, it follows the rhythm of my thoughts as if it were an additional member.
I have felt the accentuation of the dehumanization of society that also results from the great technological developments. Although I don’t completely reject them, I try, however, through my images, to create parallel worlds, more human, where I see myself again. It is in them that I seek comfort to express my feelings, my concerns, my truths.
My photography revolves a lot around people, especially my family nucleus and circle of friends, with the backdrop of the spaces that are close to me. We are all, in some way, the result of the environment in which we live and in which we were raised:
I am therefore no exception. In the same way that I influence these people with my “I”, I also receive influences from them that are reflected in my photographs. I photograph, fundamentally, people. However, in counterpoint, I also photograph its absence. Imaginary and illusory thus emerge in the balance of the exchange of experiences and shared experiences.
I recognize my complete inability to take snapshots. Therefore, it is not customary to bring a camera with me, which leads me to resort to the memory of the “snapshots” that I see to recreate and photograph later. I experience things, I reflect on them, and from this process an image is born that I mold mentally, until I feel that, through it, I can convey the truth, my truth. It was only after this discovery that I started to carry out photography. “My” image thus becomes the result of a mixture of experiences and imagination, mediated by my complicity with the camera. Together we then look for parallels that lead us to the final result.
In all my work, the “search for identity” is constantly reflected. An identification number encodes our identity before society as a whole. This number accompanies us throughout our lives, remaining constant in its abstract logic, despite the experiences, changes and transformations we go through. The work, operated by each individual, is, on the contrary, confined to a more restricted circle, but it is much more revealing of the individual’s identity, largely transcending the objective information that can be accessed through a numerical code.
Ironically, from the little or no sense of parallelism that may exist between these two ways of identifying a person, the idea of naming this work 123 90 948 was born.
On the one hand, this is a personal identification number; on the other hand, it also becomes the “emblematic” mark of the work produced by me.
If that numerical identifier will never leave me, I am sure that my photographs will also always accompany me, since they represent the most important part of my identity.