The selection among alternative approaches, the rejection of certain strategies, the mysteries and uncertainties that lay in unexplored possibilities, the consequence of choice captivated by the tide of time.                               

The absence of any style in praise for clarity. The image as a code-less language without restrictions, constraints or limitations. Whether artistic or linguistic, choosing in advance a genre or style can lead to a loss of expressive value and partiality. 

Not seeking refuge in the comfort of repetition but to sometimes venture into different working methods and ways of seeing. The potential interpretations are for the viewer only. 

Photography as a liberating language without pre-establish narratives and planning. With the impossibility to eliminate chance happening, series and ongoing projects should always be approached without any expectations. 

The removal of the space that surrounds the framed image is as important as what is represented. This awareness of detachment gives the image more meaning and value.

The diptych as a way to change the original identity of one, to adjust its emphasis and to create a sense of awareness why two elements should be together. 

Photography not as an aesthetic experience or work of art, but a souvenir of the unseen, the past, the elsewhere, a tool for the imagination, a reflective consciousness and a product of what is left of memory.

No representation is ever complete.