I am interested in photography as a process rather than a final image. As a latent being instead of a crystallised moment. This has led me down a path of research where the photographic process becomes the central axis of the work.
In my practice, the process embraces its liquid, opaque and ephemeral materiality, turning it into a plastic subject that positions the author-work relationship in terms of dialogue. I understand photography as a complex exercise of perception, in which the observer creates, projects and finds meaning according to their models of relationship with the world. Therefore, I work with a concept of expanded camera as the combination of environments in which the work happens. This idea explores the equivalence between camera, darkroom, studio, and exhibition space, incorporating the mentioned models of relationship within the photographic process. In this way of seeing photography, I pay attention to the relationship that this medium has with the fleeting, and our insistence on making it fixed. The image is not an indelible stroke in iron, but an infraleve light being, which disappears with the slightest sigh. It is in its fleetingness that I find its metaphorical power; and in our endeavour to fix it, I see a gesture loaded with meaning.