Whether from exploring my own sociopolitical context or from my own very personal experiences, I always approach, in some way or another, the limitless realms that an image offers of itself, the image’s mysterious ability to conceal and entangle the essence of what appears to be but is not.

That is why, in my pictures and in my audiovisual work there emerges a certain narrativity, a subtle flow of information that needs to be revealed slowly. In terms of technique, I have always focused on an exhaustive investigation of different photography processes, from the retrospective appropriation of aesthetics to developing and printing techniques. That is where my preference comes from for the analog image and my nods toward war reporters’ use of a magenta developing process from the 1960s to the 1980s; their manual processing of light, their 1950s Technicolor imagery, and so on. In my newest series, this discourse justifies the use of those technical processes.