STATEMENT
Photography is my point of departure, field of expertise, and the expressive medium through which I choose to question the world.

Photography is, for me, both a language and a medium: a system of signs capable of structuring perception and a cultural device that mediates, constructs, and reflects reality.

My work situates itself in a space of observation and analysis, oriented toward bringing social structures and dynamics to light without asserting definitive or explanatory conclusions.

In the early stages of my practice, I focused on defined social microcosms—such as shepherds, cloistered nuns —that each represent, in their way, symbolic forms of organization within the broader society.

More recently, my interest has shifted toward the media, understood as sites for constructing and refracting contemporary identity. I am particularly drawn to the blurred boundary between reality and fiction and how mediated images shape and return a constructed version of the world.

I prefer to work with film and darkroom printing, especially when engaging with personal archives, and I consider the photobook the most coherent and complete form for presenting a project.

Theoretical research is a fundamental part of my creative process: my academic background in linguistics and the humanities informs my work and draws on references ranging from structuralist linguistics (Saussure, Jakobson) to structural anthropology (Lévi-Strauss), from the critical theory of the Frankfurt School to Walter Benjamin, and to postmodern reflections on mass culture, trash, camp, and kitsch.

My approach is grounded in a documentary visual practice that resists normative frameworks: I conceive of photography as an open-ended tool of investigation, allowing layers, ambiguities, and often-overlooked visual mechanisms to emerge. I do not aim to provide answers but rather to pose questions. I prefer the images to carry the discourse.