My Artist Statement
My research begins with a simple question: what happens when an image ceases to be merely an image?
Traditionally, photography has been understood as a tool of representation: a surface that records a subject, a place, a face, or a moment. My work focuses instead on the point at which this representational function becomes insufficient, when the image exceeds what it shows and begins to generate something beyond itself.
I call this phenomenon The Excess of the Image.
Every image contains a dimension that exceeds both the subject it represents and the intentions of its maker. It generates relationships, activates meanings, and alters perception. It does not simply describe reality; it intervenes in the way reality is experienced, interpreted, and remembered.
Photography thus becomes a tool for perceptual and conceptual construction. Through scale, color, light, language, and the organization of space, I create works that do not merely ask to be viewed, but to be traversed. My interest is not in documenting the world, but in questioning the visible and invisible structures through which we assign meaning to it.
My research unfolds across different territories: space, time, the human figure, memory, and the symbolic constructions that shape our experience of reality. Some works explore the relationship between image and architecture; others focus on identity, presence, and the representation of the individual; still others take an explicitly conceptual form, questioning the mechanisms through which we read and interpret images.
What remains constant is not the subject matter, but the desire to push the image beyond its traditional boundaries, transforming it from an object to be observed into an experience to be inhabited.
When a work succeeds, photography ceases to occupy a space and begins to produce one. It no longer simply represents a presence; it becomes a presence itself.