ARTIST STATEMENT
"One cannot see light without shadow, one cannot perceive silence without noise,
one cannot reach wisdom without madness"
Carl Gustav Jung
My work stems from a fascination with the city—experienced not only as a built environment but also as a perceptual and psychological experience—capable of reflecting the deep and contradictory relationship that human beings have with reality. A relationship in constant tension between opposing forces.
On the one hand, everyday life shows us how our existence is exposed to a relentless bombardment of external stimuli: a chaotic overlap of lights, sounds, and energies that excite and intoxicate, but at the same time disorient and alienate. A hypnotic force that ends up absorbing the individual, fragmenting them and engulfing them into a greater whole. In contrast to this immersion, however, arises the need for detachment: a profound urge to regain stability and balance. An impulse that drives us to isolate urban elements from their narrative context in order to recognize them as archetypal presences—fixed points within a constantly shifting flow.
This dual dialectic forms the foundation of my artistic practice, which moves within an expressive spectrum where complexity and reduction, overload and sobriety, light and shadow, Perceptions and Visions alternate.
In Perceptions, the inner tensions that emerge from the initial sensory confrontation lead me to create altered and abstract versions of reality, starting from digital photography, which I process through multiple exposures, long shutter speeds, and deep post-production work. In this process, I draw inspiration from the legacy of Futurism—fascinated by modernity but reinterpreted through the disillusioned gaze of the present, where progress is no longer a promise but a pressure—and the suggestions of Expressionism, translating emotional unrest into visual distortions through tools akin to glitch and media art.
At the opposite end, in Visions, my artistic output focuses on formal reduction and sculptural rigor, opening space to visual spirituality. Here, inspired by Minimalism and Modernist photography, I entrust light, contrast, and geometry—handled with meticulous control—with the construction of essential images: autonomous visual structures capable of standing on their own equilibrium, like totems, trophies, or embalmed icons.
These two modes of expression are not in conflict, but two sides of the same coin: a yin and a yang in continuous dialogue, where chaos calls for order, and excess finds relief in emptiness. On one side, there is tension; on the other, care—in a continuous cycle in which the loss of self creates space for contemplation, and abstraction restores depth to experience. It is in this unstable balance, in this vital alternation, that the truth of our time reveals itself.
It is up to the viewer to choose whether to be a spectator of a revealed unconscious or a witness to an apparition.